Projector Review: PowerLite Home Cinema 1440 1080p 3LCD Projector

Written by Evan Powell, January 19, 2016 |

Angled Product ImageThe Epson Home Cinema 1440 is one of the new cinema projectors released by Epson that targets ambient light situations from Super Bowl parties to sports bars. If you want big screen display of live music concerts to liven up your cocktail parties, the HC1440 is a natural. This new model pumps out 4400 lumens of HD 1080p video, enough to light up 150″ to 200″ screens without having to turn the lights off. And it is a compact, 10 lb model that you can install yourself with no muss no fuss. Best yet, all of this lumen power will only set you back $1,699.

Picture Quality

The whole point of the HC1440 is getting the brightest HD picture possible for the money. The projector is rated at a maximum of 4400 lumens, and on our test sample the brightest preset, Dynamic, measures 4350 lumens, essentially on target. Meanwhile, the two Cinema modes which have a more neutral color balance measure about 2800 lumens. The Dynamic mode has a somewhat greenish bias, although not severe or objectionable. The big question is whether you’d want to give up 1/3 of your total light potential to get more accurate color?

The answer for most users will be “no way.” This is a Super Bowl party projector, intended for big screen use in ambient light. You are buying it because you want 4000+ lumens. Even at its default settings, the HC1440’s Dynamic mode delivers an engaging and exciting picture. Despite what a professional would describe as a greenish bias, nobody at a party would think the picture looks green, or notice any color biases in the image at all–for the most part colors look perfectly natural. A low-saturation light blue sky may appear bluish-green, but saturated colors all look solid and accurate.

However, there is an easy way to improve the picture quality without bothering with a professional calibration. In the onscreen menu, go to Image/Advanced/RGB and drop Offset G from 0 to -1. Believe it or not, this tiny adjustment takes out a noticeable amount of the green, improves color saturation and contrast, and renders better flesh tones. Meanwhile it reduces lumen output by only 3%, so you still end up netting out 4200+ lumens. This is the way I would run this projector at my own Super Bowl party.

As far as sharpness is concerned, the HC1440 has a Sharpness control that ranges from -5 to +5, and it is set to default to 0 in all color modes. This produces a picture that, to my taste, is not quite sharp enough. The interesting thing about the HC1440 is that the sharpening algorithms do not produce gross edge enhancements like they do on many other video displays. Instead it gives you an artful refinement of the image. You can boost sharpness to +2 or +3 to produce a noticeably sharper picture without imparting any sense of artificial processing that makes it look harsh or digital. You can experiment with it yourself to find your own preferred setting, but the traditional mantra of us videophiles who insist that Sharpness controls be turned off does not apply to this projector.

The same is true of the noise reduction filters. The projector’s color modes default to a setting of NR1 out of the three options Off, NR1 and NR2. Noise reduction filters reduce digital noise at the expense of some image detail, but in this case the trade-off is worth it. To my taste the NR1 is the overall optimized solution, as there is a bit too much noise in many sources with noise reduction set to Off.

The HD1440 has three color presets other than Dynamic. They are Bright Cinema, Cinema, and Game. Oddly enough, they all measure about the same 2800 lumens. The two Cinema modes have more accurate color than Dynamic as well as a slightly smoother, more refined image quality. But the difference is quite subtle. The primary difference between Bright Cinema and Cinema is the default gamma settings rather than total lumen output. These operating modes would be more appropriate for use in lower ambient light, and if I did not need Dynamic’s lumen power I would opt for the Cinema modes.

As far as Game mode is concerned, the fastest input lag we could measure on this projector is 56 ms. So it is not going to be the ideal choice for gaming enthusiasts who want the fastest response times possible (Epson’s HC 2040 measures 24 ms, so if your interests are primarily gaming you’d probably want to look at something like that.)

Overall, the HC 1440 is a party projector, ideal for big screen HD video and sports presentations in ambient light, whether in the home or a sports bar. And for this purpose it is outstanding.

Key Features

Excellent value. Superb combination of high resolution, high lumens and color brightness, for a great price.

Epson 1440 connection panel

Mobile/portable. At only 10 lbs, the 1440 is easily transportable. An onboard 16-watt speaker gives you some room-filling audio if you need it in portable applications.

Long zoom range. A 1.65 zoom ranges lets you fill a 120″ diagonal screen anywhere from 12 to 19 foot throw distance.

Stream HD shows. Supports MHL-enabled devices, Chromecast, Roku Streaming Stick and Amazon Fire TV Stick.

Split Screen Viewing. Watch two shows at once. Pictures are displayed either side by side in equal sizes, or one large and one small. A full image of both signals is always 100% visible (no picture in picture where one is overlaid on the other).

Low fan noise in eco-mode. Fan noise is surprisingly low in eco mode for a projector of this size and brightness.

Inexpensive replacement lamp. At just $149, new lamps are noticeably cheaper than competing lamps that often run $250 or more.

H+V keystone. +/- 30 degrees Vertical keystone, +/- 20 degrees horizontal

Security. Password protection is an option if you want to use it, and the projector comes with a Kensington lock.


Brightness. The Epson Home Cinema 1440 is rated at 4400 lumens of white light and 4400 lumens of color brightness. It has four factory preset operating modes and no separate user programmable modes, although all four factory presets can be modified by the user. With the lamp on full power and the zoom lens set to its widest angle position, our test unit produced ANSI lumens readings as follows:

Epson Home Cinema 1440 ANSI Lumens

MODE Normal Lamp Eco mode
Dynamic 4350 3175
Bright Cinema 2810 2051
Cinema 2800 2044
Game 2790 2037

Zoom lens effect.The HC 1440 has a 1.65x zoom lens that will curtail light output by up to 36% as you move from its brightest, most wide angle position, to its most telephoto (longest throw for a given image size). This light loss is not particularly unusual for a 1.6x zoom lens, but it means that if you need the full lumen power of the projector, you should plan to install it as close to the screen as you can in order to use the wide angle end of the lens.

Eco mode. The 1440’s eco mode reduces light output in all modes by 27%. It also curtails fan noise considerably and increases anticipated lamp life from 3000 to 4000 hours.

Brightness Uniformity. Uniformity measures a very good 84%, with light fading off just slightly to the upper right and left corners. But uniformity throughout the rest of the image is excellent.

Epson 1440 remote

Input lag. The Bodnar meter measures 73 ms input lag in Fine mode and 56 ms in Fast mode.

Fan noise. If you are in a quiet room, fan noise on the 1440 Audible noise is moderate and quite noticeable in full lamp mode — normal for a data projector that produces this amount of light, and certainly louder than a typical home theater projector. If you are using it for party entertainment to show music concert videos, or football parties, the fan noise will never be heard. If you are watching Bubba Watson about to tee off and the Quiet signs are up, you will become aware of the fan if the projector is anywhere near you. This is not surprising since the unit is rather small for the amount of light it produces so there is little opportunity to baffle fan noise internally.

In eco-mode, it’s a different ball game. Fan noise drops substantially to where it becomes remarkably quiet and perfectly acceptable for even a relatively small home theater room. On the other hand,High Altitude Mode is required at elevations above 1500 m, or about 5000 feet. In this mode the fan noise is increased loud enough that you’d want to take steps to baffle it behind a wall if it is used in a home theater room. But for party environments (the most likely usage) it is still not a problem.

Lamp life and price. Epson estimates lamp life at full power to be 3000 hours in Normal lamp mode and 4000 in eco-mode. Replacement lamps cost $149, which is noticeably less than most of the competition.

Set Up

The Epson Home Cinema 1440 will thrown a 120″ diagonal 16:9 image from a distance of between 11.7 and 19.3 feet, give or take a couple inches. It is easily bright enough to fill a much larger screen. At 180″ diagonal, you’ll need to set it back between 17.5 and 29 feet. Use the Projection Calculator to determine your actual throw distance options based your desired screen size.

Since the zoom lens curtails light output at the telephoto end by 36%, if you need the full lumen power of the projector you will want to place it relatively close to the screen in order to use the wide angle end of the zoom.

There is no lens shift. The HC1440 throws the image so that its ideal placement is on a shelf or stand behind and just above the heads of the audience. About 88% of the projected image is above the centerline of the lens and 12% is below the centerline. So it can be positioned on a shelf or stand without requiring much if any tilt.

If you wish to ceiling mount it, that’s no problem, but the projector will likely require an extension drop tube so that it is placed at a height that will accommodate its throw angle without a tilt. The manual does not stipulate any maximum tilt, but 15 degrees is about the maximum recommended for most projectors due to the fact that tilting the unit will interfere with its cooling system. A few projectors are built to withstand non-horizontal installations, but the 1440 is not one of them.

As you can see below, the 1440 has a form factor with relatively shallow depth, about 11.5 inches. So it can be placed on a bookshelf as long as there is sufficient clearance to the sides and above it for heat dissipation.

Important warning. Due to the unique throw angle of this projector, you might be tempted to invert it and set it on a high shelf. Never invert a projector and set it on its top in direct contact with a shelf — it is pretty much guaranteed to overheat in that situation.

Epson 1440 top view

Installation Trade-offs

Ideal throw distance. The big question is this — where is the ideal placement when you’ve got a 1.6x zoom and you can choose to ceiling mount it anywhere between 12 and 19 feet to hit a 120″ screen? The trade-offs are these:

1. If you place it at 12 feet, you get the maximum light output from the projector which is good if you need it. The downside is that in this position it throws the widest angle cone of projected light, and light striking the screen toward the sides of the image will tend to bounce off away from the center viewing position. So it is a bit less than ideal for even screen illumination.

2. If you place it at 19 feet, you get the minimum light from the projector, but if that is already enough it doesn’t matter. The advantage is that you narrow the cone of projected light, providing a more even illumination of the screen since light hitting the sides of the screen does not bounce off at as much of an oblique angle.

3. If you place it at 15-16 feet, you get equal trade-offs of the above. Also, in theory the midpoint of the zoom lens is its optical sweet spot, but a 1080p resolution image is not going to tax the optical resolution of the lens enough for you to notice.

Plan for lamp degradation. In planning your installation, keep in mind that a good rule of thumb is to anticipate that high pressure lamps will lose 25% of their brightness in the first 500 hours of operation, then degrade more slowly after that. With this in mind, many people choose their screen size and screen gain assuming they will use the projector’s eco-mode for the first 500-750 hours, then switch to full lamp mode for the remainder of the lamp’s life. By following this strategy you can even out the average light levels on the screen over the lamp’s entire life.

On the other hand, if you need the full 4000+ lumens, you can keep it up at that level by replacing the lamp more frequently than the estimated lamp life. This is particularly easy to do with the HC 1440 since replacement lamps are only $149.


No 3D capability. If 3D is your thing, look elsewhere as the 1440 does not do it.

No lens shift. A bit of lens shift would have been helpful for easier installation. Since there is none, make sure to take extra care while planning the set up.

No frame interpolation or detail enhancement. These features are present on many Epson home cinema projectors, but they are not on the 1440.

Fan noise. In normal (full lamp) mode the fan noise is higher than desirable for home theater applications, although it is remarkably quiet in eco-mode. On the other hand, it is no issue if you are using it for Super Bowl parties, live concert videos, or in general for any sports event viewing.

16:10 Aspect Ratio. For cinema use you will probably be using a 16:9 screen. You can set up the 1440 to fill the screen with a 16:9 image, and the small black bars top and bottom will project onto the black frame and become invisible. If you have a need or desire to use a 16:10 format screen, a 16:9 image will be displayed with small black bars at the top and bottom of the screen image.

Air filter. The air filter needs periodic cleaning which is easy to do with a small computer keyboard vacuum cleaner swiped over the intake vent. How often you need to do this depends on how much dust there is in the room. If you forget to do it at all, the filter will eventually clog and the unit will overheat and automatically shut down.


We’ve given the Epson HC 1440 five stars for value. You may wonder at this given that there are a number of HD 1080p DLP projectors rated at 4000 or more lumens that sell for prices much lower than $1700.

The issue is that in this brightness range, most DLP projectors continue to rely on a large white segment in the color wheel to boost the ANSI lumen rating. This does indeed boost white light output, but it leaves colors relatively flat. As an example, we are currently reviewing the new Dell 4350, a 1080p DLP projector rated at 4000 lumens and selling for several hundred dollars less. And indeed, when we do the standard ANSI lumen test our sample measures 3907 lumens, or very close to its rating. However, when we measure the red, green, and blue components individually, they add up to 694 lumens. By comparison, the Epson 1440 still measures 4200+ lumens when the color components are measured individually. The result is that when you put these two units side by side, the color on the Epson 1440 is much more vibrant and saturated than it is on the Dell 4350.

This is not to say that all DLP projectors behave this way. DLP projectors built for home theater quite often have RGBRGB color wheels that deliver as much color light as they do white light. And in a number of recent DLP projectors that do have white segments in the wheel, we’ve seen a trend toward a reduction of the size of the white segment. This leads to much higher color brightness measurements than we’ve seen on DLP projectors in the past. On models with a reduce white segment there can be excellent color saturation and a very well balanced video image despite the presence of the white segment in the color wheel.

Nevertheless, when we look at inexpensive DLP projectors that are rated at 4000 lumens and above, it is still generally true that most of that lumen power is coming from a white segment, and that color brightness falls far short of the white potential. So if you are in the market for a bright video projector and are looking for 4000+ lumen models, keep these performance differences in mind. The lumen ratings can be quite misleading.


For what it is, the Epson HC 1440 is an outstanding projector at a superb value. It gives you full HD resolution and 4000+ lumens of reasonably well balanced color brightness for a relatively moderate price — perfect for home entertainment with some ambient light in the room, or any venue where you need bright video in some level of ambient light. The HC 1440 does not have the extra processing and performance features found on other Epson cinema projectors like frame interpolation, detail enhancement, and 3D capability. But for straightforward, bright, HD video in ambient light situations, the 1440 is tough to beat.

Ready to purchase? Click here to see the Epson PowerLite Home Cinema 1440 1080p 3LCD Projector on Projector SuperStore!

Written by Evan Powell, January 19, 2016 | Originally seen on View original posting here.

Home Theater Projector Shootout: Home Theater Projectors under $1,000

If you want to spend less than a thousand bucks on a good home theater projector, here are five of the best new options on the market. This shootout compares five newly released 1920×1080 resolution home theater projectors that are priced between $799 and $999, including in alpha order the BenQ HT3050, the BenQ HT2050, the Epson Home Cinema 2040, the Optoma HD28DSE, and the Viewsonic LightStream PJD7835HD. To start with, here are the prices, warranties, and technology type:

BenQ HT3050 $999 1 year DLP
BenQ HT2050 $799 1 year DLP
Epson Home Cinema 2040 $799 2 years 3LCD
Optoma HD28DSE $799 1 year DLP
Viewsonic PJD7835HD $899 3 years DLP


Which is the BEST Projector?

There is no such thing, at least in this group, as the “best” projector. Why? Because each of our five projectors has unique attributes that may be of more or less importance to you. For example, when one projector has deeper black levels but is not quite as sharp as another, people would disagree on which is the “best.” One projector might do an outstanding job with 2D but its 3D image is lackluster, while a different model has terrific 3D, but its 2D image is less impressive. Which of these projectors is the “best” for you depends on how important 3D viewing is to you.

No single projector in this shootout does everything the best — they’ve all got advantages and they’ve all got flaws. Our purpose here is to identify the strengths and weaknesses of each product, and let you decide which one most closely meets your needs.

The Calibration Issue

There is a lot of discussion about color balance and calibration in these reviews. Let’s put this into perspective right up front. There are two truisms to bear in mind:

  1. Most consumers will think the factory calibrated pictures they get from any of the five projectors in this shootout are just fine as they are coming out of the box, without any need for adjustments or calibrations.
  2. The picture quality on virtually all projectors can be improved with a professional calibration.

Projector manufacturers are paying more attention to proper video calibrations than they used to. Some are promoting the fact that they are making a specific effort to target HD Rec 709 standards in their Movie or Cinema factory calibrations. Other vendors have created Cinema or Movie calibrations designed to target HD color standards without specifically marketing them as such. So the good news is that you are much more likely to pull a new projector out of the box, fire it up, and get a picture that blows you away without having to bother with a professional calibration.

HOWEVER. Though vendors are paying more attention to calibration for best video, it is only by the rarest of accidents that a projector comes out of the box perfectly calibrated. Factory calibrations are always approximations, as each unit and (more importantly) each lamp is different. The high pressure lamps used in inexpensive projectors do not emit the ideal 6500K white light; they tend to be biased toward blue-green. The Cinema or Rec 709 factory calibrations help to compensate for the anticipated color errors introduced by the lamps, but there is no way that vendors could afford to custom calibrate each unit for each individual lamp during the manufacturing process.

Bottom line, if you set up two different projectors side by side that have both been “factory pre-calibrated to Rec 709,” odds are the colors will look different. And, odds are, they are both wrong. But they will both look a lot better (that is, a lot closer to the theoretical ideal) than if no attempt at calibration had been done.

If you want your projector to be tuned up to its absolute best potential, a certified technician will need to spend a couple hours dialing it in. And even then, one person’s “optimal” picture may not be another’s. While there are objective targets defined as ideals, there is a lot of room for personal taste when it comes to setting up a video picture to your ultimate satisfaction.

The problem is, professional calibrations can cost $300 or more, which is a huge chunk of change to add to the cost of an $800 projector. Most buyers won’t do that. And for most buyers, it isn’t necessary. Think about this — TVs are just as erroneous as projectors, often more so. But when’s the last time you heard of anyone needing to hire a professional to calibrate their TV before they could enjoy the picture? Probably never.

So take the discussion about color balance and accuracy in these reviews with a grain of salt. They will mean something to serious home theater fans, and the issues are legitimate because people going to the trouble to install a projection system generally want better performance than the typical TV watcher. But all of the projectors in this group have factory defined picture modes that will dazzle and delight most consumers. They give you a big screen experience you can love without messing with any calibration at all. Once you install one of them and get familiar with its features, how much of a stickler you may want to be for fine tuning and technical precision is up to you.


This section contains meter measurements on the five projectors pertaining to lumen output, brightness uniformity, and input lag.

2D Brightness. For traditional 2D movie and video display, all five of these projectors produce more than ample light for dark room home theater. In their brightest configurations that are still balanced for very good video, four of the five come in so close that it would make no sense to choose one or the other based on brightness. The Viewsonic PJD7835HD is the one exception that puts out more light.

ANSI Lumens in Brightest Cinema Modes

MODEL Lumens
BenQ HT3050 1550
BenQ HT2050 1688
Epson 2040 1725
Optoma HD28DSE 1667
Viewsonic PJD7835HD 2310


ANSI Lumens in Standard Cinema Modes (lamps on full power)

MODEL Lumens
BenQ HT3050 1160
BenQ HT2050 1255
Epson 2040 1519
Optoma HD28DSE 1601
Viewsonic PJD7835HD 1616


In their preset Cinema modes, the Epson 2040, Optoma HD28, and Viewsonic 7835HD are somewhat brighter than the BenQ HT2050 and HT3050. But even the least bright measurement of 1160 lumens is more than ample light for most dark theater applications.

Eco modes. All five projectors have eco-modes that reduce total lumen output in all modes in the event light output at full lamp power is too much for your needs. Optoma’s eco-mode cuts light by 26%, Epson’s by 34%, and the two BenQ models are reduced 32%. The Viewsonic has two eco modes. The standard Eco cuts light by 27%, and the Super-Eco cuts it by a whopping 78% (a curious option for which we cannot see a high demand).

Zoom lens effect. The 1.3x zoom lenses on the two BenQ models will allow you to reduce lumen output by up to 27% as you move to the telephoto end of the zoom range. Why? As you move the lens from wide angle to telephoto, it reduces the amount of light that is transmitted through the lens. The Viewsonic has a 1.36x zoom that will reduce light up to 23% at the telephoto end. This gives users of these models a bit more latitude for lowering maximum brightness if they need to. Meanwhile the Epson 2040 and Optoma HD28 have shorter zooms of 1.2x and 1.1x respectively. The light output of the Epson and Optoma projectors is not significantly altered by the zoom position.

3D Brightness. Though these five projectors are similar in 2D image brightness, the similarities evaporate entirely when switching to 3D operation. The Epson HC 2040 has a commanding advantage in 3D image brightness over all four of its competitors. It is well over twice as bright as the closest runner up, the Optoma HD28DSE. In turn, the HD28DSE is obviously brighter than the remaining three.

Brightness Uniformity. A theoretically perfect projector will have 100% uniformity, displaying identical illumination across the screen side to side and top to bottom. We’ve never seen one do this. Practically speaking in today’s world, 90% uniformity is excellent, 80% is good, 70% is fair to mediocre, and 60% is poor. These numbers represent ratios between the brightest part of the image and the dimmest. So a projector with 60% uniformity will be 40% less bright in the dimmest area of the image than in its brightest.

For the most part, low brightness uniformity is not noticeable when viewing a video or film image. What you generally get is fading toward the sides or corners that you are not conscious of unless the projector has some visible vignetting. So the flaw is subtle — you are not seeing the picture as it is meant to be seen, but you are not aware that it is wrong. Once you throw a 100 IRE white test pattern onto the screen, the degree of unevenness of your projector’s image becomes apparent.

Our five 1080p projectors in this group yield brightness uniformity measurements as follows:

MODEL Uniformity
BenQ HT3050 73%
BenQ HT2050 67%
Epson 2040 84%
Optoma HD28DSE 71%
Viewsonic PJD7835HD 65%


Input Lag. The time lag that exists between the time the projector receives the signal and the time it appears on the screen is called input lag. A lengthy input lag will produce visible lip synch issues and may have some impact on video gaming results. The lip synch problem can be easily overcome with the use of an audio delay that brings the sound and the picture back into synch. But there is no fix for video gaming, so those who are into serious competitive gaming tend to look for video displays with the lowest input lags.

BenQ HT3050 49.7 ms
BenQ HT2050 33.1 ms
Epson Home Cinema 2040 24.6 ms
Optoma HD28DSE 49.7 ms
Viewsonic PJD7835HD 49.7 ms

Set Up / Installation

None of these five projectors have long zoom lenses or extensive lens shift, so your options are limited on where you can place them to fill your particular screen. The BenQ models have a 1.3x zoom lens and some limited lens shift, and the Viewsonic has a 1.36x zoom, so they offer a bit more latitude.

The throw distances for the BenQ and Epson units are almost identical. If you have a 16:9, 120″ diagonal screen, the HT3050 and 2050 will fill it from a distance of 10 to 13 feet, and the Epson 2040 will fill it from 10.5 to 12.75 feet. The Viewsonic gives you the ability to position it slightly closer, from 9.6 to 13 feet. The Optoma HD28DSE needs a bit more throw distance, 13 to 14 feet, to accommodate the same 120″ screen. This can be a good thing since it may allow placement of the projector behind the seating area and a bit further from the audience.

If your screen is something other than 120″ diagonal, you can find throw distance details using the Projector Central Projection Calculator. Here is the Projection Calculator pre-loaded with each of the five models … BenQ HT3050BenQ HT2050Epson HC 2040Optoma HD28DSEViewsonic PJD7835HD. Adjust the screen size and throw distance parameters to suit your needs.

Image offset is another factor to keep in mind. Each of these projectors throws an image that is entirely or mostly above the centerline of the lens. The two BenQ models and the Optoma throw a picture so that the bottom edge is above the centerline of the lens by about 8% of the picture height.

In addition, the two BenQ projectors have a lens shift capability that will let you raise the picture up to another 10% of the picture height (or about 6″ on a 120″ screen). This lets you compensate for minor errors in mounting in a way that the other products don’t, and makes it easier to target a pre-installed screen.

The Epson HC 2040 is unique among the five in that its projection offset is quite a bit lower — the bottom edge of the projected image is located below the centerline of the lens, by an amount equal to about 13% of the picture height, or about 8″ below the centerline on a 120″ screen. The advantage of this placement is that it makes it easier to install on a rack or shelf located behind the audience without having to tilt it to position the image properly on the wall. This lets you avoid the keystone correction that would be required to square up the image if you had to tilt the projector downward, as you would need to do with the BenQ, Optoma, and Viewsonic units.

There are two further issues to be aware of if you plan to place the HC 2040 on a rear shelf behind the seats. First, it will require you to sit at a position of about 1.3x the screen width or closer. You may or may not want to sit that close to the screen, and it is worth sorting that out before you make your final decision. Second, fan noise may be bothersome if the projector is placed immediately behind and too close to the heads of the audience. This is especially the case if the projector is to be run in full power mode.

The downside to the Epson 2040’s lower throw angle is that if you place it on a coffee table it may throw the image too low, or if you invert and ceiling mount it, it will throw the image too high. For ceiling mounting, this is fixed by using an extension drop tube. The HC 2040 will need to be suspended one or two feet lower from the ceiling than would be required with the competing units.

The bottom line is that the lens throw geometry of the BenQ HT3050 and HT2050 favors a ceiling mount or coffee table placement, and its lens shift makes it easier to target a pre-installed screen. The Optoma HD28DSE and Viewsonic 7835HD also favor a ceiling or table mount, but they have no lens shift. All four of the DLP projectors are a bit more problematic for rear shelf placement due to the probable need to tilt the units downward and use keystone to square it up (which is scaling that compromises the 1 to 1 pixel mapping from an HD 1080p source). The Epson HC 2040 is designed to accommodate a rear shelf placement more easily, and if you ceiling mount it, you will need to position it at a greater vertical distance from the ceiling than you would the competing units by using a longer drop tube.

Lamp Life and Replacement Lamp Cost

Lamp life has continued to improve in the industry. Keep in mind that lamp life specs are based on the anticipated time the lamp’s brightness will diminish to 50% of its original luminance. However, high pressure lamps do not degrade on a straight-line basis; they lose about 25% of their power in the first 500 to 1000 hours, and then degrade more slowly after that. For this reason, many serious home theater users replace lamps more frequently than the official lamp life in order to keep their projectors performing their best. If you want to follow this strategy, the lamp replacement cost becomes a factor in your decision.

Lamp Life Specifications

BenQ HT3050 3500 hours 6000 hours
BenQ HT2050 3500 hours 6000 hours
Epson Home Cinema 2040 4000 hours 7500 hours
Optoma HD28DSE 4000 hours 8000 hours
Viewsonic PJD7835HD 3500 hours 8000 hours


Replacement Lamp Prices (as quoted by the manufacturers)

BenQ HT3050 $249
BenQ HT2050 $249
Epson 2040 $  79
Optoma HD28DSE $179
Viewsonic PJD7835HD $329

BenQ HT3050

The BenQ HT3050 is an impressive projector that succeeds in part by avoiding the common flaws typical of home theater projectors in this price range. It delivers an exceptional picture out of the box that many will find perfectly enjoyable without any tweaking. On our sample, we selected the Cinema mode, and preferred to open up the mid-tones a bit by boosting Brightness to 51, Contrast to 53, and adjusting gamma from 2.2 to 2.1. This is not a recommendation, as your unit and your tastes may vary.

Strengths / Advantages

Pre-calibrated Rec 709 Cinema mode. One of the key features of the HT3050 is its Cinema mode that has been factory set to target Rec 709 standards. No factory precalibration will be ideal for all units coming off the line, but this one gets the picture closer to standards than typical factory settings. The picture looks great standing on its own, and we suspect few users would want to bother with the expense of a custom calibration. It can be improved with further tweaking, but it is not necessary.

Rainbows? What rainbows? The RGBRGB wheel configuration and rapid refresh rate bring rainbow artifacts to an absolute minimum, which for all practical purposes will be non-existent for many users.

Outstanding Audio. The twin 10W stereo speakers blow all the others away. If you want or need your projector to have some robust audio, this is the one to get.

Low Fan Noise. The fan noise on the HT3050 (and HT2050) in full power mode is the lowest and least noticeable in the group in both sound pressure and frequency. It also does not vary in pitch or pressure which is a good thing that is not true of all projectors in this shootout.

Lens shift. While not extensive in range, the HT3050 (and HT2050) lets you shift the lens in order to move the image up and down about 10% of the picture height. This can make it much easier to target a pre-installed screen, or make a small adjustment after you’ve made an error in screen installation after the fact. None of the competing units have this.

1.3x zoom lens. The 1.3x zoom lenses provide a bit more flexibility in throw distance, and the choice of throw distance can be used to fine tune the projector’s light output if necessary.

Black levels. Black levels, while not as deep as the Optoma HD28, are the second best in the group, and are sufficiently deep to produce good snap. Contrast is equally competitive, not quite at HD28 level but solid and nothing to complain about.


3D performance. The HT3050 has the least bright 3D picture in the shootout. Color saturation is somewhat muted compared to the Epson 2040 and Optoma HD28. Standing alone, the HT3050’s 3D picture is certainly quite engaging and enjoyable, so if you have only a passing interest in 3D, this projector will get you by. But if you are a big 3D fan and tend to complain about the dimness of 3D imagery, the HT3050 would not be the first choice.

Light output. Light output in 2D display is around 1160 lumens in Cinema mode, which is plenty sufficient for most home theater needs. It is only a weakness by comparison with competing units in this group that average closer to 1600 lumens and thus would be able to accommodate more ambient light, should that be desired.

Input lag. The HT3050’s 49.7 ms matches the Viewsonic and the Optoma, but it is not as quick as the HT2050 at 33.1 ms, or the Epson 2040 at 24.6 ms. If you are not into serious gaming this is a non-issue, but if you are, this may be an issue to consider.

Brightness uniformity. The HT3050 and HT2050 both have relatively low brightness uniformity compared to ideal home theater standards. However, they share this limitation with the other DLP models in this shootout, so they are not uniquely poor in this regard. This is a flaw that tends to get lost and unnoticed in a video image, so as flaws go it is easy to live with.

Slow signal lock. The HT3050 is the slowest of the five units to find and lock on a signal. This is noticed typically when loading a new disc. You see a lot of “searching for signal” messages when the Blu-ray player is sending different signals that alternate between 480 to 1080/60 to 1080/24. The practical consequence is that you may never see preliminary notices like the MPAA rating screen or the FBI warning, and you may hear the dramatic fanfare of the movie studio’s logo on your sound system before the video image appears on the screen. However, once the projector locks onto a stable 1080p/24 movie signal it is fine, so most users will consider the initial instability to be a minor nuisance. All of the DLP projectors in this shootout do this to some degree; the Epson 2040 is the only one in this group that rapidly locks on a new signal format.

One-year warranty. BenQ offers a one-year warranty on the HT3050, which is the minimum found in the industry today.

Price and Replacement Lamp. The $999 price is the highest in the group and the $249 replacement lamp price is rather hefty; it is not as bad as the Viewsonic lamp at $329, but Epson’s $79 lamp price stands in a league of its own.

Summary Assessment

The BenQ HT3050 produces a solid and thoroughly engaging picture without the need for pro calibration. Its black levels, shadow definition, and contrast are competitive, rainbows are rare, and fan noise is low, steady, and unobtrusive. The 1.3x zoom lens with lens shift makes it the easiest of the projectors in this group to ceiling mount. Part of the charm of the HT3050 is that BenQ has eliminated most of the common flaws people object to in lower priced projectors.

Furthermore, the weaknesses that it does have do not rise to the level of big problems for most buyers. Its 3D is the least bright and saturated of the competing models, but for those who watch 3D only occasionally this is not a big deal; it provides sufficiently good 3D performance to satisfy the occasional use. Brightness uniformity is lower than ideal, but it is not generally noticeable on the screen. Input lag of 49.7 ms may be a concern for serious gamers, but not for the rest of the world. And its slowness to lock on a signal is a minor nuisance that only happens before the movie gets going.

The HT3050’s price of $999 is the highest in this group, the one-year warranty is minimal, and $249 for a replacement lamp may be a concern for people who plan to put a lot of hours on their projector. But overall, we expect that many will see the particular configuration of benefits offered by the HT3050 to be a very attractive value proposition.

BenQ HT2050

The BenQ HT2050 is built on the same platform as the HT3050, and it also is an impressive projector that succeeds in part by avoiding the common flaws in home theater projectors in this price range. It lacks a few features that are found on the HT3050, including a factory calibrated Rec 709 Cinema mode, stereo sound, horizontal keystone adjustment, MHL-compatibility, and the option to add a soon-to-be released wireless module for an additional $399. But you save $200 by going with the HT2050 instead of the HT3050.

Strengths / Advantages

Rainbows a non-issue. The RGBRGB wheel configuration and rapid refresh rate bring rainbow artifacts to an absolute minimum, which for all practical purposes will be non-existent for many users.

Low Fan Noise. The fan noise on the HT2050 (and HT3050) in full power mode is the lowest and least noticeable in the group in both sound pressure and frequency.

Input lag. The HT2050’s 33.1 ms is quite good. It is faster than the HT3050, the Optoma HD28 and the Viewsonic which all measure 49.7 ms, but it is not quite as quick as the Epson at 24.6 ms.

Lens shift. While not extensive in range, the HT2050 (and HT3050) lets you shift the lens in order to move the image up and down about 10% of the picture height. This can make it much easier to target a pre-installed screen, or make a small adjustment after you’ve made an error in screen installation after the fact. None of the competing units have this.

1.3x zoom lens. The 1.3x zoom lenses provide a bit more flexibility in throw distance, and the choice of throw distance can be used to fine tune the projector’s light output if necessary.

Black levels. Black levels, while not as deep as the Optoma HD28, are the second best in the group, and are sufficiently deep to produce good snap. Contrast is equally competitive, not quite at HD28 level but solid and nothing to complain about.

Above Average Audio. The single 10W stereo speaker does not compare to the twin 10W configuration on the HT3050, but it outperforms the audio on the other competing units in this group.

Price. At $799 the HT2050, along with the Epson 2040 and Optoma HD28, are the three least expensive models in the group.


3D performance. The HT2050 is just slightly brighter than the HT3050, but one of the least bright 3D pictures in the shootout. Color saturation is muted compared to the Epson 2040 and Optoma HD28. Standing alone, the HT2050’s 3D picture is certainly engaging and enjoyable, so if you have only a passing interest in 3D, this projector will get you by. But if you are among those who complain about the dimness of 3D imagery, the HT2050 would not be the first choice.

No MHL Compatibility. The HT2050 is the only projector in this group of five that does not have MHL.

Brightness uniformity. The 2050 and 3050 both have low brightness uniformity, which they share with the other DLP models in this shootout. This is a flaw that tends to get lost and unnoticed in a video image, so as flaws go it is easy to live with.

Slow signal lock. The HT2050 is relatively slow to find and lock on a signal. This is noticed mostly when loading a new disc. There are a lot of “searching for signal” messages as the Blu-ray player may alternate between 480 to 1080/60 to 1080/24. However, once it locks on to a stable signal it has no problem retaining it. The HT2050 appears to be a bit faster than the HT3050 in this regard.

One-year warranty. BenQ offers a one-year warranty on the HT2050, which is the minimum found in the industry today.

Replacement Lamp. The $249 replacement lamp price is rather hefty; it is not as bad as the Viewsonic at $329, but Epson’s $79 price stands in a league of its own.

Summary Assessment

Much of what was said of the HT3050 can be said of the HT2050 as well. At $799 it is competitively priced and delivers an impressive picture for the money. Its factory calibrations are perfectly watchable as they are, but color in Cinema mode is not dialed in quite as well as it is on the HT3050. Though not required to enjoy the projector, a custom calibration will noticeably improve the picture quality. If you DO plan to spend $300 on a custom calibration, the HT2050 would be the more cost-effective choice over the HT3050 unless you want or need the HT3050’s other features — MHL, horizontal keystone, more robust stereo on-board sound, and the option to add a wireless module.

As with the HT3050, black levels, shadow definition, and contrast are competitive, rainbows are rare, and fan noise is low and unobtrusive. The 1.3x zoom lens with lens shift makes it the easiest of the projectors in this group to ceiling mount. Most of the common flaws people object to in lower priced projectors do not appear on this one. Furthermore, the weaknesses that it does have are not big problems for most buyers. Though slightly brighter than the HT3050, its 3D is similarly low in brightness and saturation compared to the competition, but for those who watch 3D only occasionally this is not a big deal; it provides sufficiently good 3D performance to satisfy the occasional use. Brightness uniformity is lower than ideal, but it is not generally noticeable on the screen.

The HT2050’s input lag of 33.1 ms will look more attractive to gamers than the 49.7 ms on the HT3050. On the other hand, the absence of MHL compatibility will hinder the use of smartphones and tablets as sources, and the HT2050 is the only projector in the group without this feature. The one-year warranty and $249 price for a replacement lamp may be a concern for people who plan to put a lot of hours on their projector. But overall, we expect that many will see the HT2050’s particular configuration of benefits to be a very attractive value proposition for $799. People who buy it will love it.

Epson Home Cinema 2040

The Epson HC 2040 is the best home theater projector yet produced by Epson in this price range. It is the only 3LCD product in the group of five, and in many respects it is radically different than its DLP competitors. It has performance features and advantages none of the others have, along with a couple of unique weaknesses. To the videophile, the 3LCD picture looks qualitatively different than DLP, with both advantages and disadvantages. Preference for one over the other is a matter of personal taste, so we’ll try to describe the differences and let you decide which appeals to you the most.

Strengths / Advantages

3D Performance. The single most dramatic advantage of the 2040 is its performance in 3D. Image brightness is the chronic problem with most 3D implementations, and the 2040 is by far the brightest of the five units in this comparison. When in full power mode it is double the brightness of the next closest competitor, the Optoma HD28, which in turn is twice as bright as the rest of the competition. And even when the 2040 is in eco-mode, its 3D picture is visibly brighter than the HD28 in full lamp. Not only is the 2040’s 3D image bright, it is rich and vibrant in color, and high in contrast. The black level limitations that appear in 2D display do not exist in 3D; instead you get deep solid blacks and ample shadow detail definition. For buyers who are heavily into 3D, the 2040 is the standout choice among the five.

Very Sharp Picture. Perhaps the sharpest image of the five, rivaled only by the Optoma HD28. Sharpness is due in part to the Detail Clarity Processor brought down from the 5030/6030 models. As with any sharpening algorithm, it can be overdone to the point where the picture looks artificially harsh. However, in modest use (we set ours to 30%) it lends a natural refinement of detail and makes the picture look higher in resolution than it does on competing units.

Film-like image. The 3LCD picture on the 2040 has a more natural, analog looking aspect to it than do the DLPs in this group. This is difficult to describe, but there is a qualitative smoothness in the image that will appeal to videophiles.

Input Lag. The 2040 measures 24.6 ms input lag, the fastest of the group, and in fact the fastest projector we’ve measured in a long time.

Frame Interpolation. The 2040 is the only product among these five that has frame interpolation. This optional feature can be set to Low to reduce the occasional camera panning judder in movie projection. If set to Medium or High it will produce too much hyper-reality (the soap opera effect) for movie viewing. However, the High setting works well for stabilizing video of live performances such as concerts or dance, where the more visual reality the better.

Rainbows are non-existent. The 3-chip light engine delivers simultaneous color updates, so rainbow artifacts do not exist.

Low Fan Noise in Eco-mode. The fan noise in eco-mode is identical to the noise on the BenQ models, which is to say the lowest that it gets among these five models.

Lower throw offset. The 2040 has a lower throw offset than any of the DLPs which makes it more suitable for mounting on a shelf behind the seats. This may or may not be an advantage depending on how you plan to install it. Shelf mounting saves you the cost of a ceiling mount and long run cables as well as the work to install it. However, if you do plan to ceiling mount your projector, the 2040 will require a longer drop tube than you would use with any of the DLP models.

Brightness uniformity. Our 2040 test unit measures 84%, compared to the low 70’s or worse on the other four units. So the 2040 is the only model among the five that can be said to have good uniformity.

Miracast, Intel WiDi Option. Epson offers a variation of the 2040 called the Home Cinema 2045. It is $50 more than the 2040, and it includes support for Miracast and Intel WiDi.

Rapid synch on new signals. The 2040 is the fastest of the group to recognize and synch on a new signal format. So when loading a Blu-ray disc, as it initially cycles through varying signal formats for the MPAA rating, the FBI alert screen, and the movie studio logo splash sequences, it displays these without any stumbling around or multiple intermittent “searching for signal” messages. Not a big deal in the grand scheme of things, but it is a difference you experience every time you load a new disc.

Price. At $799 the Epson 2040, along with the BenQ HT2050 and Optoma HD28, are the three least expensive models in the group.

Cheap Replacement Lamp. The $79 replacement lamp price is pretty much unheard of, and seriously undercuts the high prices of the competition. At this price, there is a real benefit to be aware of. You can always expect high pressure lamps to lose 25% of their initial brightness during the first 500 to 1000 hours of operation. They will then degrade more slowly until they hit 50% of their initial brightness at end of life. Because of this, serious home theater users with higher priced projectors often replace lamps more frequently than the lamp life would suggest, in order to keep their equipment performing at its best. At a price of $79, you can adopt this practice on the 2040 without serious financial impact.

Two-year warranty. Epson’s two-year warranty on the 2040 beats the one-year programs offered by BenQ and Optoma, but Viewsonic’s three-year deal is the best in this group.


Black levels in 2D. The most notable weakness in the 2040 is black level in 2D display, which is not as deep as it is on the DLP competition. By comparison, the Optoma HD28 has the deepest blacks and highest contrast. The weakness in black level is most apparent on a 2D image that is mostly black, such as rolling credits, and in predominantly dark scenes where there is a lot of shadow detail. With this subject matter the DLP projectors will render a blacker background and provide better shadow detail definition.

Fan noise in full lamp mode. The 2040 is the loudest of the five models when in full lamp mode. We presume many users will opt for eco-mode, which brings fan noise down to the equivalent level of the BenQ units. The good news is that even in eco-mode the 2040 has a brighter picture than most of the competition.

No lens shift. The two BenQ models have some lens shift range that will make them easier to install. The 2040, the HD28, and the PJD7835HD lack this feature.

Average on-board audio. It’s not bad for a portable unit and it beats the anemic HD28 audio, but the audio on the 2040 pales in comparison to what you get on the HT3050 and even the HT2050.

Summary Assessment

The Epson Home Cinema 2040 is the most impressive home theater projector yet produced by Epson under $1000. It is uniquely outstanding in 3D, easily outperforming the competition with this type of content. Its image with 2D content is bright and sharp with excellent color, clarity, and a natural film-like quality.

The HC 2040’s factory calibrations in its Cinema and Bright Cinema modes are reasonably good and certainly watchable without calibration. However, some tweaking by a knowledgeable user or a professional calibration will improve its ultimate performance. We ended up making some tweaks to the Bright Cinema mode that produced a brilliant and very satisfying image. Its primary weakness is black levels and shadow definition in scenes with an abundance of dark and shadow. Fan noise is also louder than desirable when the projector is run in full power, but it is quiet in eco-mode. Since the projector produces exceptional brightness in eco-mode and we suspect most users will opt for that.

Epson’s consumer friendly 2-year warranty and $79 replacement lamp price, along with the fact that its $799 price is attractive in itself, will make it easy for many to make a decision for the HC 2040.

Optoma HD28DSE

The Optoma HD28DSE is capable of producing what many might consider to be the best 2D picture in this group of five models, but it does not come that way out of the box. When you first fire it up, its factory default calibrations are disturbing. Saturation and sharpness are way overdriven, white is extremely out of balance, and the picture looks quite harsh. However it is remarkably easy to fix with a few simple adjustments. First, switch it from Vivid to Cinema mode. Second, reduce the Sharpness control from 12 to 8. Third, reduce color saturation from 10 to 0. Fourth, reduce Brilliant Color from 8 to 2. Fifth, reduce the DarbeeVision video processing from its factory 80% setting to 20%. And voila, you have a vastly improved 2D video image with solid black levels, sparkling contrast, impressive three-dimensionality, and reasonably well calibrated color that will compete well against any of the competition in this shootout.

Strengths / Advantages

Deepest blacks, best contrast. The HD28DSE carries a contrast rating of 30,000:1 compared to the 15,000:1 ratings on the BenQ models and 22,000:1 on the Viewsonic. In this instance the contrast ratings do translate to a visible competitive advantage. We see marginally deeper black levels, better shadow detail separation, higher overall contrast, and more image three-dimensionality on the HD28 than on any of the competing models. However, we would describe the differences as more subtle than dramatic.

Rainbows are scarce. We see a few more rainbows on the HD28 than we do on the BenQ models, but they are scarce enough that they don’t rise to the level of a concern. By comparison there is more rainbow activity on the Viewsonic.

Very good 3D performance. The HD28 cannot match the Epson 2040 in 3D brightness or richness, but it occupies an impressive second place, surpassing the other DLP models handily in both image brightness and color vibrancy.

Sharp picture. The HD28DSE is unique in that it has the DarbeeVision video processing system which none of the other models have. (“DSE” in the model name stands for Darbee Special Edition). This can be enabled or not as the user wishes. In our experimenting, we find that using the DarbeeVision system in a modest setting of about 20% contributes beneficially to image sharpness and clarity without making it appear unnaturally processed. So it is a significant feature that places the HD28DSE in a tie with the Epson 2040 as the two sharpest projectors in the shootout.

Four corner correction. The HD28 has not only vertical and horizontal keystone correction, but independent four corner correction as well. So if you need to install this unit at oblique angles to the projection surface, it is easy to square up the image. Anyone setting up the projector for permanent use in a home theater should make every effort to position the projector square with the screen to begin with so no keystone adjustments of any kind are required, but if you need this feature it is available.


Variable fan noise. The fan noise oscillates somewhat and appears to be related to average picture level and internal operating temperature. There is an intermittent higher pitched tone that comes and goes, which does not exist on any of the other units. Moreover, overall loudness of the fan increases and decreases over time. The varying pitch and tone of the fan noise draws more attention than does any fan with a constant pitch and sound pressure.

Factory presets excessive. When first firing it up, the HD28 defaults to a rather bright, oversaturated, very harsh image. The good news is that it is easy to fix as described above.

1.1x zoom and fixed throw offset. With no lens shift and almost no zoom, the HD28 is the most restrictive of the five models in terms of the precision required to install the projector.

Lower than expected lumens. The HD28 has ample firepower for most home theater and home entertainment use and it is competitive with the other units in the group. But it falls noticeably short of its 3000 lumen rating.

Weak onboard speaker. If you listen carefully the speaker will give you an idea what a movie’s audio track is all about, but despite its 10-watt rating it is not very loud even at max volume. Onboard sound is the worst of the five models here.

Input lag. The measured lag of 49.7 ms matches the BenQ HT3050 and Viewsonic PJD7835HD, but it is slower than the HT2050 and Epson 2040. If you’re a serious gamer, this may be a consideration.

One-year warranty. Optoma’s one-year warranty on the HD28DSE is an industry minimum, matching BenQ, but falling short of Epson’s two-years or Viewsonic’s three years.

Price and Replacement Lamp. The $799 price is attractive and the $179 replacement lamp price looks good compared to BenQ and Viewsonic, but it is quite a bit more than Epson’s $79 lamp.

Summary Assessment

After getting rid of the overdriven factory presets, the Optoma HD28DSE turns into a beautiful projector with best in class black levels and contrast. The DarbeeVision system is a unique feature that can enhance the picture if used modestly, but can destroy the picture if used at aggressive settings. The HD28DSE’s Cinema and 3D modes in particular can be enjoyed without calibration, other than the initial adjustments needed to remove the excessive processing. Rainbows occur infrequently enough that they do not amount to an issue of consequence.

3D performance is above average in the group. It is more robust than the other DLP projectors, but falls short of the Epson. The only ongoing annoyance is the unpredictable fan noise. The HD28DSE is best suited for low table or ceiling mounting. Be careful where you put it, as the 1.1x zoom and zero lens shift severely limits placement options for any given screen size and location.

At $799, you get a projector that is capable of delivering a beautiful, relatively bright high contrast 2D image that is highly competitive with the BenQ models, but it needs a bit of tweaking to get it there. The DarbeeVision system gives it an edge in image sharpness/acuity when used modestly. Overall, a great value in an entry level projector.

Viewsonic LightStream PJD7835HD

The Viewsonic PJD7835HD, priced at $899, is in many respects the best home theater projector yet released by Viewsonic. It comes with several pre-calibrated operating modes including Viewmatch, which targets Rec 709 standards. On our test sample, the Viewmatch mode is rather lackluster and slightly biased toward green. We get a far more dynamic, balanced, and exciting picture when switching to Movie mode and adjusting the color temperature to Warm. In this mode the PJD7835HD puts out a beautiful, bright, and very competitive image.

Strengths / Advantages

Brightest of the bunch. The 7835HD is rated at 3500 lumens, and our sample measured 3503 lumens. This is the brightest of the five models in the group. It produces a reasonably well balanced video image at about 2300 lumens, notably brighter than the brightest of the competition. So it offers a unique advantage in combatting ambient light.

Solid red, excellent color. The red primary on this projector is more solid than on any of the competing units which tend to have a touch of orangish hue in the reds. Once calibrated, the 7835HD is capable of extremely accurate color.

1.36x zoom A slightly longer zoom range than the 1.3x on the BenQ models gives the 7835HD the award for the longest zoom range in the group. Practically speaking, it means that you can place the projector slightly closer to the screen for any given screen size than you can any of the competition.

Good onboard audio. While the HT3050 is the king of audio and the HT2050 is in second place, the 16W speaker is a good performer with reasonable volume and no distortion. It comes in third, but very close to the HT2050. It is much louder and clearer than the speakers on the Optoma or Epson units.

Black levels and contrast. Despite the higher light output, the 7835HD is capable of generating solid black levels. They are not quite as deep as the Optoma or BenQ’s but they are very close. Contrast is highly competitive with the BenQ models, matching or edging them just slightly.

3-year warranty. Viewsonic includes an aggressive 3-year warranty in the price, which is something nobody else does.


Rainbow activity. The 7835HD’s most problematic weakness is rainbow artifacts, which tend to show up more frequently than on the other DLP projectors in this group. This comes from an RGBCYW color wheel rotating at 7200 RPM. Rainbows will tend to be most problematic for people who like to sit close to the screen, a practice that maximizes the eye movement. You will never see rainbows if you don’t move your eyes, so sitting farther back from a screen reduces your cone of vision and thus eye movement.

Fan noise. In full power mode the fan noise is somewhat more present than it is on the BenQ models in full lamp mode, or the Epson 2040 in eco-mode. But you get a brighter picture for that as part of the trade off. It is not as loud as the Epson in full power mode. It is very low in pitch, so it is not terribly distracting. However, as with the Optoma HD28 it does tend to vary up and down apparently in response to internal operating temperatures.

3D picture. Though the 7835HD is quite bright in 2D it loses its brightness advantage in 3D.

Input lag. The measured lag of 49.7 ms on the 7835HD matches the Optoma and the BenQ HT3050, but it is slower than the Epson 2040 and the BenQ HT2050.

Low Brightness Uniformity. None of the DLP projectors perform well on this parameter, but the 65% measured on the 7835HD was a tad lower than the competition.

Replacement lamp. If you want or need a new lamp, the price is a hefty $329, which is noticeably more than any of the competition.

Summary Assessment

Viewsonic is on the move, looking to become a significant player in home theater projection. Their beautiful little PJD5555W, a 1280×800 resolution projector now selling for under $500, was the first model in their line to offer the Viewmatch Rec 709 mode. The PJD7835HD boosts resolution to 1920×1080 and continues their focus on excellent color dynamics.

At $899, the LightStream PJD7835HD is priced in the middle of the group. Its key advantage is extra brightness and it is capable of putting out a superb picture. Its extra brightness comes in part from the white segment in the color wheel. In its very brightest preset modes the extra white light compromises color saturation and rendered an imbalanced picture. But the projector offers sufficient controls to dial in a very appealing trade off that gives you a picture that is brighter than the competition with ample color saturation that is not visibly compromised.

The biggest concern for some buyers will be the level of rainbow activity which is higher than any of the competing units. But if you are among those who are not sensitive to or bothered by rainbow artifacts, the Viewsonic PJD7835HD is a solid alternative for buyers who want a bright 2D picture with great color, black level and contrast.

Epson PowerLite Pro G6900WU Large Venue Projector Review

Review Written By:Bill Livolsi | View original article on Projector Central here.

The Epson PowerLite Pro G6900WU is a 6000-lumen WUXGA projector built with large venues in mind. WUXGA resolution is 1920×1200, the new gold standard for conference room and auditorium projectors. It used to be a high-end format, but at this writing there are two hundred WUXGA projectors in production across a wide range of price points. It has broad market appeal due to its versatility — WUXGA projectors will display both 1920×1200 computer signals and HD 1080p video in native format, so it has become the go-to resolution for sharp, detailed projection display.

As installation projectors go, the Epson Pro G6900WU is compact and easy to handle, weighing in at just over 20 lbs. It is a single-lamp projector that is not only rich in features, but also more affordable than dual-lamp models. The Pro G6900WU is powerful enough to light some seriously big screens, versatile enough to handle just about any connection or media type, and aggressively priced within its performance class. It also has some features not found in other Pro G-series projectors that make it ideal for digital signage. And at $6,499, you can’t beat its combination of features and performance.

The Viewing Experience

At 6,000 lumens, the Pro G6900WU is built to be used on large screens, typically in the presence of ambient light. As such, our light-controlled theater is not exactly the ideal environment. It was not a surprise when the projector started up and bathed the entire room in reflected screen light. We toned down the image brightness by switching into ECO lamp mode and increasing the screen size, but the Pro G6900WU is clearly intended for larger, brighter spaces.

The most striking thing about the Pro G6900WU’s image is its excellent color. The Pro G6900WU produces bright, saturated color in every image mode, and this goes a long way towards creating a natural-looking image. This is especially helpful when displaying data graphics or photography, because brightness does not drop off when a full-color image is put on screen. While this is not unique in data projectors, it is also not a given.

The projector’s color performance made us curious how it would perform with 1080p video. As it turns out, the answer is “quite well.” The Pro G6900WU uses Faroudja DCDi technology to process video signals, and the result is a smooth video image with great detail. The only weak point is black level, and even then the Pro G6900WU performs admirably for a projector in its class. It is not built to be a dedicated video projector, but it does very well in a pinch or for part-time use. And on the bright side, the projector’s dynamic range is sufficient to prevent crushing of shadow detail.

The Pro G6900WU includes quite a few little touches that make video more pleasant to watch, such as an automatic iris and frame interpolation. The iris brings down black level and can be very helpful when viewing video or film, but only if room lighting can be reduced as well.

Frame interpolation smooths out judder in film and video. The Pro G6900WU’s FI circuit is more or less identical to those found on Epson home theater projectors. There are three different modes, labeled Low, Normal, and High. Low mode was most appropriate for film, as it displayed the fewest artifacts and the least amount of digital video or “soap opera” effect. High mode is overkill for film and 24p content, but has no negative effect on 60p video signals. Keep in mind that Frame Interpolation is not for everyone; some folks do not enjoy the effect when viewing film, but there are no real downsides to using it with video.

In short, the Pro G6900WU’s image is bright, color is excellent, and video quality is superb for its class. The projector’s black level is typical for a data projector, but in an auditorium this actually matters very little — and with the auto-iris engaged and the lights dimmed, black level becomes quite good.

Setup and Configuration

Gone are the days when a 6000-lumen projector was a heavy behemoth that required a lot of muscle to install. The Pro G6900WU is small enough to be easily deployed pretty much any way you want to use it. It can be ceiling mounted, installed in a projection closet, or even placed on a rolling cart if mobility is desired. There is an assortment of six optional lenses to choose from which will allow you to fill a 180″ diagonal screen from a throw distance of anywhere from 8’2″ to 84’7″ (with the exception of a break in the range from 10 to 16 feet).

The Pro G6900WU comes with the Standard Zoom lens, a 1.82:1 manual zoom/focus lens that will put a 180″ image on screen from 16′ to just over 29′. The projector is available either as a bundle with the Standard Zoom, or as a bare body (Pro G6900WUNL, with the “NL” standing for “No Lens”). The latter is priced at $5,199 to the former’s $6,499. The lenses vary in price, with the Standard Zoom selling for $1,399, the Short Throw Zoom selling for $2,999, and the other lenses all priced at $1,899.

As for lens shift, the projector allows for both vertical and horizontal adjustment using manually-operated thumb knobs on the top of the projector. Once lens shift is dialed in, the projector has a sliding lock bar that prevents further adjustment or drift.

The exact range of the lens shift changes with each lens, but the standard lens allows for approximately 70% vertical adjustment in either direction and about 33% adjustment to the left or right. On a hypothetical 180″ diagonal image (95″ high by 153″ wide), that’s 66.5″ range up or down and 46″ of adjustment to the left or right.

The Pro G6900WU can be installed in an auditorium, but it can also be used on curved surfaces, hard corners, ceilings, floors, and portrait orientations. Digital signage-oriented features like arc correction, edge blending, corner wall projection, and 360-degree display make it possible to install the Pro G6900WU in positions that are either difficult or impossible for many other projectors.

The Pro G6900WU is easy to install and maintain, and even a surface-level examination of the projector reveals some thoughtful touches. The projector’s lens mount uses a quick-release system, so you can swap out lenses without a screwdriver. The air filter door uses a sliding lock system and filters can be changed without tools — though the air filter is built to last 10,000 hours, so it’s only an occasional maintenance item. The lamp door on the projector’s side is attached with two Phillips screws, so unfortunately lamp changes still require a screwdriver.

One final note: The Pro G6900WU includes a third lamp power selection called “Temp Interlock.” This mode keeps the lamp at full power unless the surrounding temperature rises outside the range for normal operation, at which point lamp power switches to ECO. If you were going to keep the lamp at full power, there is no reason not to use this setting, as it can help preserve your projector and improve lamp life.

Key Features

Image quality. The Pro G6900WU’s stand-out feature is the balanced, natural quality of the image even in the projector’s brightest modes. The Pro G6900WU has well-saturated, bright color, a sharp and detailed image, and great dynamic range. The projector is as strong in video display as it is in data thanks in part to a Faroudja DCDi image processor, an automatic iris, and frame interpolation.

Connectivity. Nearly the entire rear surface of the Pro G6900WU is taken up by its connection panel. As the flagship model of Epson’s new G series, the Pro G6900WU features connectors for HDMI, DisplayPort, VGA, VGA monitor out, S-Video, composite, 5BNC component, wired LAN, WiFi (with a $99 adapter), both 1/8″ and RCA audio inputs, HDBaseT, and HD-SDI. That last one in particular is not found on any other projectors in the G Series line-up and is unique to the Pro G6900WU.

HDBaseT is getting a lot of attention lately, and for good reason. It combines HDMI, ethernet, and RS232 control over one inexpensive, non-proprietary, easily sourced Cat5e or Cat6 cable. Epson sells an HDBaseT transmitter box for $499 that bundles HDMI, Ethernet, and RS232 and sends them out over a single wire, but aftermarket products are also an option.

Arc correction. If your screen isn’t flat, the Pro G6900WU can correct for that. Arc Correction allows you to digitally fine-tune the projection geometry to compensate for a screen surface that is not perfectly flat. In other words, the Pro G6900WU can be used on curved screens without pincushion or barrel distortion. Moreover, the projector is capable of correcting focus in non-flat images, keeping your entire image crisp and clear. Arc correction does apply scaling to the image, so if you are using WUXGA or 1080p content you will lose the benefit of 1:1 native display.

Edge blending. For large-scale screens that require more than one projector, the Pro G6900WU has Advanced Edge Blending. All projectors in Epson’s G Series offer edge blending — the ability to seamlessly stitch the edges of two or more projectors’ images in order to make one fully integrated image. But the Pro G6900WU has the “advanced” version, which also includes support for curved surfaces and corner walls.

360-degree installation. Many projectors can only be installed horizontally due to heat concerns, but the Pro G6900WU can be installed in any position. One of several features aimed at digital signage, this allows the projector to be mounted in any orientation without fear of overheating or malfunction.

When you combine these three features — arc correction, edge blending, and 360-degree installation — you gain the ability to install the Pro G6900WU in some radically non-traditional setups, making it perfect for digital signage. You can aim the projector at a floor or ceiling, or project onto a vertically oriented screen. Getting more creative, you can use the Corner Wall feature to project a portrait-oriented image onto a curved pillar or sharp 90-degree corner. Getting more creative still, you can use a series of Pro G6900WU projectors to edge-blend a huge display all the way down one wall, around a corner, and onto the next. You could extend that display up onto the ceiling or down onto the floor. The flexibility afforded by these features make the Pro G6900WU a perfect projector for use in digital signage applications.

Scheduling and control. Like most large-venue projectors, the Pro G6900WU can be monitored and controlled over a wired network. Unlike most other comparable projectors, though, the Pro G6900WU has a scheduling feature that allows the projector to be programmed based on a timer and internal clock, which is especially useful in places where network connectivity is unavailable. Using the Scheduler, you can program the projector to turn itself on and off, change sources, change lamp power, mute sound and video, and adjust the volume. These actions can be programmed for a specific date or a repeating day of the week. While the scheduler is not as comprehensive as network monitoring, it is a great way to ensure that a projector does not accidentally stay on all night. It’s also ideal for digital signage — all of your displays can be set to turn off at the close of business, automatically.

Low fan noise. The Pro G6900WU is a bright projector, but it doesn’t sound like one. Fan noise, while not whisper-quiet, is comparable to what you’d get out of home theater projectors from a few years back – a low rush of air, noticeable but not annoying. That is a nice bonus, particularly if you’ve got the projector on a rolling cart close to the audience in the center aisle of a conference room.

3 year warranty with overnight replacement. When it comes to projector warranties, three years is about as good as it gets. But the Pro G6900WU’s warranty also includes Epson’s Road Service program, so if your projector fails while it is under warranty, Epson will overnight ship a replacement projector to you, free of charge. The warranty also includes 90 days of coverage on the lamp.

If three years isn’t long enough for you, extended warranties are available and include a one-year Exchange plan for $199 or a two-year Repair plan for $299.


Light output. The Pro G6900WU is rated at 6,000 ANSI lumens, and using its internal white test pattern did give a maximum reading of 6021 lumens on our projector using Dynamic mode. Switching to an external source over HDMI, Dynamic mode measured 5012 lumens with 85% brightness uniformity. On most projectors, Dynamic mode is a green-tinged mess designed to pump white light output at the expense of color and contrast, but Dynamic mode on the Pro G6900WU actually produces a respectable picture that would be appropriate for text and data graphics in a high ambient light setting.

The next mode, Presentation, has a cooler bluish tone and better black levels than Dynamic. At 3922 lumens, Presentation mode does give up some of Dynamic’s brightness, but the trade-off is worth it for color-rich PowerPoint presentations, graphs, or charts.

Theatre mode, at 4049 lumens, has better color saturation and accuracy and a very good default gamma calibration. Theatre mode is more likely to be used with the lamp at low power and with the auto iris engaged, in which case light output drops to 2632 lumens. That’s a more appropriate level of brightness for a room with dimmed lights and a more comfortable configuration for the viewing of film or video.

Sports mode, at 4285 lumens, has the same blue tint bias as Presentation and is appropriate for live television and video content, just as the name implies.

The final image mode is sRGB, which at 3268 lumens has both the most natural color of any preset mode on the projector and the lowest light output. If you plan to view a lot of photography and can afford to sacrifice the light output, sRGB mode is the way to go.

Any image mode can be reduced in brightness by switching to ECO lamp mode. ECO mode reduces lamp power by 36% and can bring the Pro G6900WU to a more appropriate level of brightness for smaller screens or rooms with better control over ambient light.

Contrast. In a room with ambient light, the Pro G6900WU produces a well-balanced image with sufficient contrast for viewing text and data graphics, though contrast is not the projector’s strongest suit. Content like video, film, and photography is much improved if room lighting can be dimmed. The projector’s automatic iris is useful for deepening black level when room conditions allow. There is little muddiness in shadows, and black is black, not dark gray, when the lights are off.

Color. Even in its brightest modes, the Pro G6900WU’s color performance is more than adequate for data graphics. Color light output matches white light output, meaning that color appears natural and color-rich images do not seem dark or undersaturated. This all comes together to give the Pro G6900WU a bright, vibrant image that is not just limited to black-and-white data, but is a good choice for video, film, and photography use in a non-theater setting.

Sharpness and Clarity. The Pro G6900WU’s image is sharp and clear at just about any resolution. The Pro G6900WU is capable of natively displaying both WUXGA and HD 1080p. These native-res signals are tack-sharp on the Pro G6900WU, which does an excellent job of rendering fine detail from both video sources and data.

Lower-resolution signals can either be displayed natively in a window or scaled to fit, but the projector upscales cleanly and shows few signs of blurring or detail loss. Up-conversion of a text document from a WXGA (1280×800) laptop did not result in any significant loss of legibility.

In our testing, there was significant digital noise in Dynamic mode, especially when watching film or video. The noise was much less noticeable in still content like photographs, PowerPoint presentations, and web pages. The other image modes were less noisy than Dynamic, with sRGB being the cleanest mode available.

Input Lag. Straight out of the box, the Pro G6900WU measured 92.3 milliseconds of input lag, or five and a half frames on a 60 FPS signal. Film and video playback might have visible audio delay if a correction circuit is not used. Like other Epson projectors, the Pro G6900WU includes an option to use either “Fast” or “Fine” image processing. Fast processing reduces input lag to 40 milliseconds, or just over two frames, but also reduces detail clarity in the image.


Light loss due to zoom. Long zoom lenses all share one thing in common: they reduce the amount of light that reaches the screen as you shrink the image down. All of the above readings were taken with the Standard Zoom lens at its widest position (the biggest image for a given throw distance). At maximum telephoto, light output is reduced by 35%. If you need to mount the Pro G6900WU at the long end of its throw range, maximum light output falls to 3260 lumens. That’s enough of a drop that you might want to consider using the next lens in the lineup rather than trying to make do with the Standard Zoom.

Light loss due to lamp age. In the projector industry, all projectors carry brightness ratings based on new lamps. High pressure lamps typically diminish in light output about 25% during the first 500 hours of use, and degrade more slowly after that. At the end of a lamp’s anticipated life it will be putting out 50% of its initial brightness. When planning any installation with any projector, one should make allowances for diminished lamp output over the life of the lamp. It can be advisable to plan for running in eco-mode during the early phase of the lamp’s life and full power in the later phase in order to equalize brightness over the lamp’s life. If maximum light output is required for the application, one might plan on replacing lamps more frequently than the estimated life. Replacement lamps on the Pro G6900WU are $549, which is typical for large venue projectors.

Screw closure on lamp door. On the Pro G6900WU, both the lens mount and the air filter cover use a tool-free closure — a push-lever in the former case and a sliding lock in the latter. However, the lamp door still requires a screwdriver. Since the projector lamp (2,000/4,000 hour life) requires attention more often than the air filter (10,000 hour life), and lens swaps are unlikely once the projector is installed, it would be ideal if the lamp access door was tool-free as well.

Manual lens adjustments. The Pro G6900WU’s manual zoom, focus, and shift adjustments may require a second person to eyeball the screen up close as these adjustments are being made at long throw distances. This is a non-issue once installed in a permanent location, but focus could be done with one person standing at the screen if the lens adjustments were powered.


Taken as a whole, the Pro G6900WU is an impressive package. The projector couples WUXGA native resolution and a small, light-weight package with high light output and great color performance to create a sparkling and engaging image. The projector’s connection panel is packed tight with high-quality digital connections ranging from HDMI to DisplayPort to HDBaseT and HD-SDI. The projector is designed from the ground up with installers in mind. Arc correction, edge blending, and 360-degree projection make it possible to install the Pro G6900WU in just about any situation.

All in all, the Epson PowerLite Pro G6900WU is a powerful, highly capable WUXGA projector that strikes a compelling balance between affordability and feature set. It brings some high-end features to a more affordable projector than the massive two-lamp models. It is among the most attractively priced WUXGA projectors available at its brightness level. For that reason and many others, the G6900WU is an excellent value in today’s market.


Ready to begin shopping for your projector? You can view the G6900WU on our site here. You can also browse a variety of other projectors available from Projector SuperStore here. Don’t see the one you’re looking for, or have other questions? Give us a call at 888-525-6696 and one of our sales team members will be happy to assist you! 


About Epson- Epson’s vision is to transform how people share ideas and information — simply, visually and in ways they never thought possible. They are a  leading manufacturer in the printer, professional imaging, projector, scanner, systems devices, and factory automation categories. They deliver high performance products, services and solutions that exceed their customers’ expectations. Additionally, Epson goes the extra mile to build long lasting relationships with their end users, their co-workers, and their accounts. You can learn more about Epson on their website here.

About Projector SuperStore – For over 20 years, Projector SuperStore has been the premier source for affordable Audio and Visual equipment online. We have worked with hundreds of businesses across the nation and have the expertise to help you integrate the right technology for your specific needs and bring your message to the masses. Whether you’re looking for a projector for a meeting room, a portable system for use in multi-purpose rooms, a state-of-the-art projection system for your main auditorium, the latest home theater technology or anything in between, we can help you create a system that is right for your needs and fits within your budget. View more information on our website here.

“Which Projector Do I Need?” – A Guide to Selecting Your Next Projector

Perhaps the million dollar question when it comes to projection systems is “Which projector do I need?” There are so many models out there for all sorts of different applications… It can certainly be overwhelming. However, when you break it down, there are a few simple questions you can ask that allow you to ensure you’re getting the right projector.

When buying a projector, you want the perfect balance of functionality and affordability. You don’t want to overspend, but on the other hand, you don’t want a projector that doesn’t meet your needs. A projector that isn’t bright enough, doesn’t have the right inputs, or doesn’t fill the screen isn’t ideal by any means. Once you’ve taken that step and invested in a new projector, you want that investment to shine. Additionally, you want it to shine for years to come. You don’t want something that is always in for repair. You want it to be installed and to be a reliable addition to your meeting facility.

So, now that we’ve established the goal, how do we get there? Truth be told, there are about as many guides to selecting a projector as there are projectors themselves. Well, we’ve taken it upon ourselves to find a guide that will be of help to you, and point you in the right direction. Prepared by one of our manufacturing partners, the following areas are ones to consider when selecting your next projector-

Budget: In today’s economy, budget is often the first consideration for any purchase. However, it is not wise to purchase a projector that does not meet your needs even if it is priced within a budget.

Application: First, consider how and where you plan to use the projector. Ask yourself questions, such as: Will it be a fixed installation or does it need to be portable? Is the main usage in your sanctuary/auditorium or in a classroom or board room? How large of a screen will you need so the person in the last row can see and read your message? Can the ambient light conditions be controlled or must you overcome some adverse direct sunlight from windows?

Content: What is the main purpose for the projector, video, data or both? Video content is typically 25% lower in brightness than computer data and will require a brighter projector.

Room Configuration: Long narrow rooms require larger screens than a short wide room when the audience is closer to the screen. On the other hand, narrow rooms require screens that reflect more light directly back to the audience, whereas screens used in wide rooms require a wider angle of dispersed light and will require a brighter projector.

Brightness & Contrast: Projector brightness is specified in lumens and contrast defines the ratio comparing the brightest white of an image to the darkest black. In most cases, brightness is more important than contrast. There are very few applications when a projector is too bright.

Aspect Ratio: Until recent years, both video and computer images were in the old TV format 4:3 screen ratios. Today however, with the advent of High Definition (HD) most video and computer images are now wide screen format 16:9 or 16:10 ratio. When considering a new facility or future projector replacement wide screen format is the way to go.

Technology: Currently there are two main affordable projector technologies on the market: DLP (Digital Light Processing) and LCD, (Liquid Crystal Display). Each offers their unique advantages and disadvantages, and depending on application and personal preference, both are capable of displaying great images. DLP is often preferred when the content is primarily live video. Images from a high-end DLP projector will closely resemble the images we see at the motion picture theaters. Small low cost portable DLP projectors are often bright with high contrast ratios, but are usually week in color saturation and do not always accurately display the colors the same as on a computer monitor. LCD is the older of the two technologies and is very similar to the flat screen TV’s and computer monitor except the image is magnified and projected on a large screen. LCD projectors are best known for their high color saturation and accuracy. Computer generated images are accurately displayed like you seen on a monitor.

Support: Probably the most important consideration is the support provided by both the manufacturer and the selling dealer. A professional sound and video dealer can offer valuable insight and critical analysis by doing a site survey. When necessary they can arrange product demonstrations to determine the best projector for your application and budget. Always consider the manufacturers brand, warranty and history of supporting the products they sell.

Ready to select your next projector? Begin by browsing through a variety of quality options available from Projector SuperStore here. Don’t see the one you’re looking for, or have other questions? Give us a call at 888-525-6696 and one of our sales team members will be happy to assist you! 


This guide was originally published by ASK Proxima, a PSS manufacturing partner.

About ASK Proxima – ASK Proxima, Inc. is a leading subsidiary of Shenzhen ACTO Digital Video Technology Co., Ltd. a high–tech enterprise specializing in research, development and manufacturing of digital video technology. They distribute a full suite of high-performance projectors, ranging from short-throw, ultra short-throw, large venue, portable and developing new lampless models. Their wide variety of projectors offer the best display LCD and DLP imaging technology available, yet all our feature-rich products are priced competitively in this dynamic market. ASK Proxima can meet your projector needs by providing quality solutions that are designed for most display and presentation markets, including: Educational, Corporate, House of Worship, Large Venue, Digital Signage and Small Business. ASK Proxima boasts an engineering team that offers some of the best technical expertise in the industry.  Many of their top-rated talent originated from leading R&D facilities around the world.  They stand by our work through extensive quality testing and excellent warranty programs that will make you feel secure in your decision to select them as your projector supplier of choice. You can view additional information about ASK Proxima on their website here.

About Projector SuperStore – For over 20 years, Projector SuperStore has been the premier source for affordable Audio and Visual equipment online. We have worked with hundreds of businesses across the nation and have the expertise to help you integrate the right technology for your specific needs and bring your message to the masses. Whether you’re looking for a projector for a meeting room, a portable system for use in multi-purpose rooms, a state-of-the-art projection system for your main auditorium, the latest home theater technology or anything in between, we can help you create a system that is right for your needs and fits within your budget. View more information on our website here.


Epson PowerLite Home Cinema 5030UB Home Theater Projector Review

This review was written by Bill Livolsi and originally appeared on Projector Central. View original post here.

This year’s CEDIA trade show in Denver saw Epson refresh its entire home theater projector line. The Epson PowerLite Home Cinema 5030UB is this year’s upgrade to the Home Cinema 5020UB, one of last year’s hottest projectors. While the 5030UB is in many ways an incremental improvement over its predecessor, it is an impressive machine in its own right. Currently priced at $2,599 from authorized sellers, the Home Cinema 5030UB is an excellent value in today’s market.

While the projector is laden with features that make it easy to install and use, the primary draw of the Home Cinema 5030UB is image quality. The 5030UB’s image in both 2D and 3D is the best we’ve ever seen from Epson, and the picture on screen makes it clear where every single dollar of the projector’s purchase price went. In other words, it looks more expensive than it actually is.

The Home Cinema 5030UB is built primarily for use in a light-controlled home theater environment, and it is tailored to deliver maximum impact in such a situation. The “UB” in the projector’s name stands for Ultra Black, a designation that does not disappoint once you have the projector properly configured. For part of this review we set up the 5030UB on one of Stewart’s new screens, the Cima by Stewart Filmscreen using the 1.1-gain Neve white fabric. This screen is a superb complement to the 5030B for dedicated home theater, and it costs less than the Studiotek 130. The 5030UB already has very deep black levels and light output is highly adjustable, so this neutral white screen with low gain and a very wide 80-degree half-gain angle is ideal for dark theater installations.

In 2D, the 5030UB’s image is smooth and life-like. Highlights are bright, but not blown out, while shadow detail is excellent and overall dynamic range makes the image appear three-dimensional. Black level, which has long been the strong point of Epson’s home theater projectors, is as deep as it has ever been once the projector’s automatic iris is turned on. The Home Cinema 5030UB shares the color performance of its predecessors, with good color saturation and comprehensive color adjustment controls. The projector’s factory configurations need a little bit of fine-tuning, but this isn’t unusual in home theater projectors. The 5030UB produces a bright, engaging 3D image that makes large-screen 3D display attainable. The projector has three dedicated 3D color modes that can be fine-tuned independently of their 2D counterparts. Bright, well-saturated colors and good shadow detail make 3D viewing a pleasant experience, even for this jaded reviewer.

If you still watch a lot of standard-definition content, technologies like Frame Interpolation and Super Resolution improve image quality and give new life to your DVD collection. And while no amount of image processing can turn SD into HD, the Home Cinema 5030UB can clean up standard-definition material enough to make it easier on your eyes, now that you’re used to high definition.


The Home Cinema 5030UB is one of the most flexible projectors on the market when it comes to installation and placement, featuring a 2.1:1 manual zoom lens with horizontal and vertical lens shift, both of which have extensive range. This opens up a variety of placement options. For the do-it-yourselfer, the 5030UB’s lens configuration screams “rear shelf mount.” Rear shelf mounting is popular because it requires no special equipment or mounting hardware, except for a shelf. You can place the projector in an optimum location to minimize lens shift and achieve the best possible brightness uniformity. The projector can be placed near the rest of your equipment, so you won’t need long-run HDMI cables. It is a simple, effective way to position your projector that requires minimal cash outlay and zero time spent on a ladder, though it often requires using the telephoto end of the zoom lens, which can reduce light output by up to 44%.

On the other hand, a ceiling mount can look more professional. In a white-ceilinged room, the 5030UB’s white case blends in quite well. The projector’s extensive zoom and lens shift range makes it easy to target a pre-existing screen. And if you’ve already had a projector ceiling mounted, the concerns about the cost of cabling and ceiling mounts are reduced or eliminated. Combined with a retractable screen, a ceiling mount can create a “disappearing theater” which may be an advantage if you are installing in a multi-purpose room.

Table placement is an option as well. The 5030UB can display a 100″ diagonal 16:9 image from 9′ 9″, so even mid-sized rooms can accommodate large screen sizes. Placement on or below a table keeps the projector out of the way but accessible, while providing the same cable length benefits as a rear shelf mount.

The Home Cinema 5030UB’s ideal operation mode for home theater is called THX. After calibration, with the lens at its widest angle setting, our test unit produced 645 lumens with the lamp set to full power and 479 lumens at low power. In a darkened theater room, this is enough light for a 120″ diagonal 1.3-gain 16:9 screen at full power, or more than enough for a 100″ diagonal screen at low power. Larger screen sizes are easily attainable using the 5030UB’s Cinema, Natural, or Living Room image modes, or a color-adjusted Dynamic mode.

While the 5030UB is great for home theater on screens of 120″ diagonal and above, there is a case to be made for a 100″ diagonal screen of about 1.1 gain. In THX mode, even accounting for 20-30% light loss from using the center of the projector’s zoom range, the picture is bright and enticing at 100 inches. Then, when switching to 3D, the 5030UB’s 3D Dynamic mode is bright enough to give you a 3D picture that actually gets 16 foot-Lamberts to your eyes. This is something that few other home theater projectors can accomplish, and it means you get 2D and 3D pictures of almost equivalent brightness.


Placement flexibility. Epson’s projectors feature a 2.1:1 manual zoom/focus lens with horizontal and vertical lens shift, which is also manually controlled. The zoom lens can create a 120″ diagonal 16:9 image from throw distances between 11’9″ to 25′ 1″. The lens shift has a total range of 3 image heights and 2 image widths, with the middle position putting the center of the lens at the center of the screen. The range of the lens shift is roughly oval-shaped, so you cannot reach maximum horizontal and maximum vertical shift simultaneously.

Super Resolution. Epson’s smart sharpening system, called Super Resolution, can increase the appearance of fine detail. The system identifies blurred portions of the source image and selectively applies sharpening to these areas, then compares the sharpened image to the original and attempts to minimize the differences in order to reduce artifacts. Super Resolution shows improvement compared to last year’s implementation, leading to an increased perception of detail with fewer artifacts overall. When taken too far, it can still cause mild ringing or artificiality, but a setting of 2 or 3 (out of 5) is effective while still being subtle.

Full HD 3D. Epson’s 3D system is as hassle-free as it gets. The system uses radio-frequency glasses synchronization to eliminate interference with remote control signals. The projectors have multiple dedicated 3D viewing presets which can be calibrated independently, allowing you to save more than one calibration for 3D viewing. This makes it easy to have a bright setting for television and animation and a more subtle, reserved setting for film. The 3D Glasses (model ELP-GS03) are lightweight and comfortable, and their batteries are rechargeable over USB (a cable is included with each pair). Each projector comes with two pairs of 3D glasses, and additional eyewear costs $99 from Epson. 3D brightness can be adjusted to one of three levels, which allows the user to trade between image brightness and crosstalk elimination based on the content being viewed. The default setting is Medium, which allows 25% total light transmission. Medium brightness effectively eliminates crosstalk in all but the most difficult content, and was our preferred setting throughout testing. Low brightness, at 18.5% light transmission, removes any trace of crosstalk whatsoever, but also restricts screen size due to less light making it to your eyes. High brightness, at 29.5% transmission, is great for 3D content where crosstalk is less of a concern. While we did not switch away from Medium very often, we appreciated having the option available for those times when the content demanded a different approach.

B&W Cinema. Black and white movies look their best at around 5500K color temperature, which is close to the color temperature of the commercial projection systems in use back in the 1940’s and 50’s. When you try to watch them in a mode that has been optimized for color films, they end up looking cold and uninteresting. The Epson 4030, 5030UB, and 6030UB all include the “B&W Cinema” image preset which is intended to display classic black and white films as they were originally seen in theaters. It’s a big help when you’re a fan of the classics but don’t want to adjust your Cinema calibration every time you watch a black and white film.

Picture in Picture. As the name implies, Picture in Picture (PIP) displays a small secondary image from a separate source in a corner of the larger main image. Epson’s home theater projectors have had PIP capability for years, but this year the system is able to use HDMI inputs for both images. This is a big deal — in the past, projectors typically had one set of HDMI circuitry, and could not use digital sources for both inputs. The use of two digital sources for PIP is a first for Epson home theater projectors and may in fact be unique in the market today.

Lamp. The 5030UB uses the same 230-watt E-TORL lamp, which is rated for 4,000 hours of use at full power and 5,000 hours in Eco-mode.

Low to moderate fan noise. Perhaps due to the use of a relatively low-wattage lamp in a large chassis, none of Epson’s new home theater models creates much audible noise in eco-mode. Eco-mode is nearly silent, and sitting any farther than a foot away from the projector means you won’t hear it running. In full lamp power mode the fan noise can be noticeable during quiet interludes in a film, but it is low in pitch and not overly distracting.

Warranty. Each projector has, at minimum, a two-year warranty which includes 90 days of lamp coverage.  Up to two years of additional warranty coverage is available for purchase on the 5030, if desired.

Automatic iris. Epson has perfected the automatic iris by creating a system that is both effective and unobtrusive. The iris deepens black levels in scenes with low illumination. It has two settings, Normal and High Speed, with High Speed being the more aggressive of the two — the iris in High Speed appears to react more quickly than in Normal mode.

Connectivity. Dual HDMI ports, 3-RCA component input, a 12V trigger, and an RS-232C port for external command and control. The Home Cinema 5030 has a wireless model, the 5030UBe, which also include a WirelessHD transmitter with 5 additional HDMI inputs and MHL compatibility.

Calibration and customization. The menu system gives the user total control over color, contrast, and gamma. Each projector features full RGB Gain/Bias controls for grayscale adjustment as well as a full color management system for fine-tuning gamut. Each projector also has at least some amount of control over gamma. Ten user memory locations allow you to save different calibrations for the same image mode without overwriting your previous settings.

Panel alignment. The panel alignment system can correct for convergence errors, which are almost an inevitability in a three-chip light engine. As the projector is used and components age, there may be some tiny shifts in the positioning of the LCD panels used to create the image. Using the panel alignment system, you can correct for these shifts without sending the projector out for service, thereby reducing downtime and expense.

2D picture quality. The best reason to purchase the 5030UB, hands down, is image quality. The 2D picture from the 5030UB is high in contrast, impressively three-dimensional, and after calibration has spot-on accurate color. Thanks to an aggressive and effective automatic iris, the 5030UB offers the best black level performance found in any projector in its price range, period. Detail is sharp and clear even without the use of Super Resolution, though that technology can make detail pop even more than it already does. Frame interpolation is very effective at reducing judder in 24p material, and shows few artifacts.

3D picture quality. If you care about 3D theater, the 5030UB delivers a compelling experience. The 3D image from the 5030UB has no noticeable flicker, almost zero crosstalk, and is bright enough to display on large screens. That last point is crucial; insufficient brightness is a major cause of headaches and eye strain when watching 3D movies and video. The 5030UB’s 3D Dynamic mode is bright enough to power a 100″ diagonal 1.3 gain screen at 16 fL. That measurement was obtained using the Low 3D brightness setting and already accounts for light loss from the 3D glasses. Using those same settings, the Medium brightness setting is just about bright enough for a 120″ diagonal screen. To top things off, Frame Interpolation is available in all 3D image modes.

Frame interpolation. Frame Interpolation is a technology that reduces the appearance of judder and motion blur by adding interstitial frames to a source video signal. Frame Interpolation has three settings as well as an Off switch (it starts out disabled). Low, the most conservative setting, does not eliminate judder but also has the least noticeable digital video effect. Normal, the next setting, drastically reduces judder but can increase the appearance of DVE in some content. We found the appearance of digital video effect to be highly content-specific. Some films show DVE on Low, while others do not show much DVE even with Frame Interpolation set to High. Low is a safe all-purpose setting for reducing judder in most film and video, though, so we left FI set to Low for the majority of our testing.


Light output. When it comes to light output, the Home Cinema 5030UB is exceptionally flexible. On the high end of the scale is Dynamic, which on our projector measured 2230 lumens with the lens at its widest angle setting. Before adjustments, Dynamic has a greenish cast, but is useful whenever maximum light output is needed. On our projector, we were able to reduce the green tint to a tolerable level using the RGB Gain/Bias controls for the cost of about 200 lumens, but the end result is a much more balanced picture that is useful in a greater number of situations. Living Room mode, measuring 1735 lumens on our projector, has a bluish tint that pushes color temperature up to around 8000K. This cooler tone actually helps to fight ambient light, which is predominantly yellow, when the projector is used in a living room or other non-theater environment. However, Living Room is also a great mode to use if you want a bright, engaging picture that does not require a lot of fiddling with the controls. By taking the Color Temperature slider from +3 to +1, you’ll end up with a picture that measures 6300K to 6500K across the grayscale with no effort on your part. Making this color temperature adjustment lowers light output slightly to 1550 lumens, an 11% decrease. Natural and Cinema mode, at 871 and 805 lumens, are quite similar, with only some differences in gamma and color gamut separating them from each other. Both Natural and Cinema default to low power lamp mode, though the measurements above were taken with the lamp at full power.

The 5030UB includes a preset called B&W Cinema that is tailored for the display of black and white movies. Coming in at 740 lumens with the lamp at full power, B&W Cinema has a color temperature around 5500K, which is ideal for old black and white films.

When it comes to pure home theater image quality, THX mode is hard to beat. It has more accurate color than the 5030UB’s other image modes, which calibration improves even further, and the best contrast performance as well. THX mode at its factory settings measures 690 lumens with the lamp at full power and 512 lumens at low power. Our calibration, which improved both white balance and color gamut, resulted in a final light output of 479 lumens.

Most projectors’ low lamp modes reduce light output by a consistent percentage in all image modes, but this is not the case on the 5030UB. Switching from “Normal” to “ECO” lamp in Dynamic mode reduces output by 21%, but making the same adjustment in Living Room mode results in a 28.5% reduction. Cinema, Natural, and THX modes all lose 26% when dropping to low power lamp mode. Please note that in THX mode, the low power lamp setting is called “Normal” while full power is called “Extra Bright.” In all other image modes, low power is “ECO” and full power is “Normal.” That can get a touch confusing, and is why we’ve opted to use the terms “full power” and “low power” in this section.

The 5030UB’s 2.1:1 zoom lens allows different amounts of light to pass depending on zoom position. The lens’s wide angle position passes the maximum amount of light, which is reflected in our lumen readings above. But the maximum telephoto setting, which produces the smallest image size at a given throw distance, restricts light output by 44%. As an example, THX mode drops from 512 lumens to 287 lumens with the lamp at low power — a significant reduction that could affect your choice of screen size. This is important to keep in mind when mounting your projector.

Contrast. The UB on the end of the 5030UB’s name stands for Ultra Black, and if anything that’s a modest assessment. The 5030UB has an automatic iris that effectively combines aggressive performance with unnoticeable operation, leading to the best black levels available in a home theater projector in this price range. When combined with the projector’s sparkling highlights and well-defined shadow detail, the end result is a projector that can handle the most difficult Blu-ray content without breaking a sweat. The dynamic range of the 5030UB’s image gives it a three-dimensional quality that makes it a real pleasure to watch.

If you want to fine-tune the 5030UB’s handling of shadow detail, the projector has very good controls for gamma adjustment, allowing you to individually adjust ten points along the gamma curve. If you are more visually-minded or lack the required hardware to do a full calibration, the system will also allow you to pick a point in the image and then make adjustments from there. That can be especially helpful when you can see what’s wrong in the image and want to fix it right away.

Color. When evaluating color on a home theater projector, we are looking for two things. The first is good, if not great, color performance straight out of the box. The second is the ability to fine-tune the projector until it looks even better. The Home Cinema 5030UB delivers both. Straight out of the box, the 5030UB defaults to THX mode. On our test unit, factory-preset THX mode has a consistent grayscale that measures around 6000K. If you don’t own the equipment needed to calibrate your projector and don’t want to pay someone else to take a crack at it, you can adjust the color temperature slider upwards by a point or two and call it a day. The only problem with this quick calibration is that it lacks green, so while the red/blue balance is almost right where it should be, the picture still looks wrong. On our projector, we corrected for this by adding green and then decreasing red by a few points. The result is a smooth, consistent grayscale that’s right around 6500K across the board, aside from a tiny spike at 100% illumination. The 5030UB has a full color management system, and while the gamut in THX mode wasn’t far from the Rec. 709 color space to begin with, we found the system exceptionally easy to use. We ended up making a significant improvement to the 5030UB’s color gamut with just a few minutes’ work using our color meter. Living Room, at its default settings, measures right around 8000K, but as stated earlier it can be corrected with a quick nudge to the Color Temperature slider. The end result isn’t nearly as precise as the THX calibration above, but it is definitely serviceable. Cinema mode can be every bit as accurate as THX mode, given a little bit of work. The factory settings of our projector give Cinema too much green and a color temperature that ranges between 5900K on the low end and 6400K on the high end. After reducing red and increasing green a bit, our final Cinema calibration actually measured brighter than the factory setting thanks to the extra green, and grayscale tracking was much improved as well. What’s impressive about the 5030UB isn’t that it can be calibrated, because all modern home theater projectors can be calibrated if you have enough time and patience. What is impressive is how easy it is to calibrate the projector, given a color meter and an hour’s time. By the end of our adjustments, we were left with three accurately-calibrated image presets that wrung out every drop of the 5030UB’s potential.

Input lag. If you’re into gaming, you’ll want the least input lag possible. That is achieved by switching from “Fine” Image Processing to “Fast.” This setting is designed specifically to reduce input lag, and resulted in only 37 milliseconds of lag, a touch over two frames. While this isn’t the fastest home theater projector on the market, it is certainly a marked improvement over last year’s 5020UB at 50 milliseconds. Note that “Fast” processing has a softening effect on the picture that reduces the appearance of fine detail, and this reduction in apparent resolution is most visible when there is a lot of small text or other detail on the screen. Depending on what kind of game you’re playing, that softness could be invisible, obvious, or anywhere in between. If you use the standard default settings, which include “Fine” Image Processing, the 5030UB measures 91 milliseconds of input lag, equivalent to five and a half frames of a 60fps signal. That’s slower than last year’s Home Cinema 5020UB (67 ms) and equal to the Home Cinema 5010 (92ms). Several features increase input lag even more when activated. Frame Interpolation is the worst offender at 183 milliseconds, or about 11 frames. It did not matter which level of Frame Interpolation was applied; all three settings result in the same increase. Super Resolution, on the other hand, only increases input lag to 102 milliseconds or six frames, a half-frame increase over the baseline. The end result is that the 5030UB is faster in “Fine” mode but slower in other modes than the 5020UB was last year. Since gamers who care about input lag are unlikely to use anything but the fastest setting available, this comes out as a win for the new model.


No anamorphic stretch. An anamorphic stretch mode enables the projector to vertically scale a 2.4:1 movie to fill the projector’s 16:9 pixel matrix, This signal can then be horizontally stretched using an anamorphic lens to create a 2.4:1 Cinemascope format picture. With this type of set up, all 2:4 movies as well as all16:9 and 4:3 content are displayed at the same picture height, so the rig is commonly referred to as Constant Image Height (CIH). Since the 5030UB lacks an anamorphic stretch mode, you cannot use it with an anamorphic lens without adding an external video processor.

Manual lens controls. The 5030UB has some of the best placement flexibility of any projector thanks to its 2.1:1 zoom lens and H/V lens shift. However, all of the projector’s lens adjustments are manually operated rather than powered. This can make it more difficult to initially adjust the projector’s focus, since adjustments must be made from the projector itself. When a projector has powered focus, you can make your adjustments while standing near the screen, making it easier to see what you’re doing. Manual adjustments also make it more difficult to use the projector’s zoom to simulate an anamorphic lens and CIH setup. You can do it if the unit is shelf or table mounted, and you want to reset the zoom position when you change the aspect ratio of your subject matter. But some projectors with powered zoom lenses incorporate a feature that automatically zooms the image to a number of pre-set positions, allowing you to use the projector on a 2.4:1 screen without the cost or bother of an anamorphic lens, and without the need to manually reset the zoom when switching from 2.4 to 16:9.

No ISF certification. Epson’s new Pro Cinema projectors include ISF certification, but the Home Cinema 5030UB does not. Note that the ISF-certified models do not include any additional calibration controls, as is the case on some other manufacturers’ home theater projectors.

Grayscale adjustments shared. The 5030UB has excellent color controls, but there is one limitation: the projector’s RGB Gain/Bias adjustments are shared between image modes. In other words, if you adjust grayscale tracking in Cinema mode and then switch to Living Room mode, the RGB Gain/Bias controls will still be set to the values you added in Cinema. If you want to save independent calibrations for each mode, you’ll have to use the projector’s Memory settings. Luckily, there are ten of them.


The Epson PowerLite Home Cinema 5030UB is, on its face, an incremental improvement to last year’s 5020UB. The specifications are similar enough, despite a significant increase in contrast, and there are no groundbreaking new features to differentiate this model from last year’s version. However, the small, incremental changes made to the 5030UB come together to create an image that is smoother, more film-like, more three-dimensional, and overall more polished than the image created by last year’s projector. And that is saying quite a bit, especially since last year’s model was already a compelling, polished home theater projector.

The bottom line is this: the Epson Home Cinema 5030UB’s strengths are its stellar picture quality and abundance of features that make the projector a pleasure to use. While it has some weaknesses, they tend to be related to anamorphic video or the finer points of calibration. If you’re looking for a powerful home theater projector that is great for both 2D and 3D video, it’s hard to go wrong with this one.

Projector SuperStore is an authorized Epson dealer and service center. You can view the 5030UB, the 5030UBe, and the rest of the Epson product line on our site here.


About Epson – Epson America, Inc. is the U.S. affiliate of Japan-based Seiko Epson Corporation, a global technology company at the forefront of technological revolutions in imaging, robotics, precision machinery and electronics. Epson offers an extensive array of award-winning image capture and image output products for the consumer, photographic, business and graphic arts markets. The company is also a leading supplier of value-added point-of-sale (POS) printers and transaction terminals for the retail market. Founded in 1975, Epson America Inc. is headquartered in Long Beach, California.
About Projector SuperStore – For over 20 years, Projector SuperStore has been the premier source for affordable Audio and Visual equipment online. We have worked with hundreds of churches across the nation and have the expertise to help you integrate the right technology for your specific needs and bring your message to your congregation without complicating it. Whether you’re looking for a projector for a meeting room, a portable system for use in multi-purpose rooms, a state-of-the-art projection system for your main auditorium, or anything in between, we can help you create a system that is right for your needs and fits within your budget.

This review was written by Bill Livolsi and originally appeared on Projector Central. View original post here.


Home Theater Shootout:
Epson 5020UB vs Panasonic AE8000

Bill Livolsi, November 7, 2012

The most obvious competition in home theater this year is between the Epson PowerLite Home Cinema 5020UB / 5020UBe and the Panasonic PT-AE8000, another sub-$3000 1080p 3D LCD projector released this year. With similar specifications and features at a similar price point, the two are going to go head-to-head for the attention and dollars of many home theater consumers this year. Below are the salient differences between the two.


2D Image quality. Our comparison uses the AE8000′s Cinema 2 mode and the 5020UBe’s Cinema mode, which are (a) very similar and (b) the best images that the projectors can produce for home theater use. The 5020UBe has a slight black level advantage over the AE8000. Both projectors have sufficient brightness, excellent color, and razor-sharp pictures. It is becoming more and more difficult to make a distinction between two projectors, especially two projectors exhibiting this high level of polish. We’re ready to call this a draw.

3D Image quality. As 3D is newer and less established than 2D, there are still some important differences in these two projectors’ 3D images. The AE8000 has a number of interesting features such as 3D Depth Control and 3D Motion Remaster that make it easier to watch 3D comfortably, and Frame Creation is available in 3D on the AE8000. The 5020UBe does not have thesse features and 3D Frame Interpolation is not available. On the other hand, the 5020UBe has radio-frequency synchronized glasses, while the AE8000 uses infrared. RF glasses are less prone to interference and losing synchronization than their IR counterparts. The AE8000′s glasses have a 3D-to-2D function, which is a nice touch if you want to watch in 3D but someone else in your household prefers 2D. Neither projector needs an outboard signal emitter. Both projectors do an outstanding job of controlling crosstalk, but we were more likely to see slight crosstalk on the 5020UBe than on the AE8000.

Light output. While there was a light output difference between the AE7000 and 5010, that difference has been eliminated in these new models. In Dynamic mode, the AE8000 measures 2471 lumens; the 5020UBe measures 2432 lumens. Living Room mode on the 5020UBe measures 1725 lumens after calibration while Cinema 2 mode on the AE8000 measures 1612 lumens. Cinema 1 mode on the AE8000 measures 822 lumens to the 5020UBe’s 914 lumens in Cinema mode. These differences — all under 150 lumens — are near invisible to the human eye. They are functionally irrelevant.

Contrast. We’ve come to the point where you can safely ignore contrast differences on spec sheets. The 5020UBe is rated at 320,000:1 on/off contrast, while the AE8000 is rated at 500,000:1. However, the 5020UBe has a more aggressive auto iris. The difference boils down to a small black level advantage for the 5020UBe in most scenes. Both projectors maintain shadow detail exceptionally well.

Color. Neither projector is perfect out of the box, but both of them calibrate very well. This is a tie.

Sharpness and clarity. The AE8000 and 5020UBe both have smart sharpening systems (the AE8000′s is called Detail Clarity instead of Super Resolution) but Super Resolution on the 5020UBe seems more aggressive than Detail Clarity on the AE8000. That could be good or bad, depending on how much you enjoy the effect.

Frame Interpolation. Both FI systems have three settings, but the AE8000 has an edge in maintaining the film-like character of the picture on its lowest setting. Even on the 5020UBe’s Low setting, there is still a touch of the digital video effect that one can see. The AE8000′s FI system is also available in 3D.

Placement Flexibility. Both projectors feature extensive zoom range and lens shift. The 5020UBe has an incrementally larger shift range while the AE8000 has powered zoom and focus. While both projectors can be focused to razor-sharp clarity, the powered focus helps to get your focus adjustments done quickly. On the other hand, the larger shift range of the 5020UBe makes it easier to mount.

2.4x Cinemascope compatibility. The AE8000 has an anamorphic stretch mode for compatibility with anamorphic lenses. It also has automated Lens Memory, which can zoom the picture from 16:9 to 2.4 widescreen based on the aspect ratio of the content. This gives you the option of a constant image height (CIH) setup without using a costly anamorphic lens. The 5020UBe lacks both of these options. Anamorphic stretch mode is available on the Epson 6020UB and 6020UBe, but those models cost significantly more.

Connectivity. The AE8000 has three HDMI inputs while the 5020UBe has two. The AE8000 has two 12V triggers while the 5020UBe has one. The 5020UBe has a wireless transmission option, but you pay more to get it; the UBe model sells for $2900 versus $2500 for the AE8000. Comparing apples to apples (5020UB versus AE8000), you get more ports for less money with the AE8000.

Input Lag. We saw noticeably more lag on the 5020UBe in Cinema mode — 84 milliseconds (5 frames) — than we did on the AE8000. Considering that the AE8000 itself measures a pokey 67ms of delay (4 frames) in Cinema, this isn’t much of a victory for the AE8000, either. On the other hand, the AE8000 has a game mode which measured 34ms (2 frames) while the 5020UBe’s Fast processing is one full frame slower at 50ms.

Fan noise. Both projectors are dead silent in Eco mode, but the AE8000 is quieter than the 5020UBe in its full power mode. If you plan on running the projector that way and positioning it near the audience, it is something worth thinking about.

Lamp. Both projectors have lamp lives of 4,000 hours in full power and 5,000 hours in Eco mode. However, replacement lamps for the 5020UBe cost $299 while replacements for the AE8000 cost $379. Over the life of a projector, that may be a minor cost factor to consider.

Warranty. Both projectors come with a 2-year warranty.

Menus. The 5020UBe’s menus, including single-line pop-out items, will stay on screen until you cancel them with the Esc button. This is infinitely more helpful than the AE8000′s menus, which cancels pop-out items after a few seconds with no way to change the timing. When you are making fine adjustments, sometimes it is helpful to watch the picture for a few seconds before deciding what to do, and the 5020UBe’s menus make that task easier.


The Panasonic AE8000 has a number of features and picture enhancements that the 5020UBe lacks. However, the 5020UBe has a few unique features of its own, such as a wider lens shift range and RF glasses. In terms of picture quality, the two projectors are evenly matched, and this becomes a very difficult shootout to call one way or the other. It ultimately comes down to which projector’s features have more appeal to you, as the picture you get from either one will be stellar.


The Epson PowerLite Home Cinema 5010 is Epson’s brand new 3D 1080p projector for home theater. Like the Home Cinema 8700 UB, the 5010 has impressive contrast and very high maximum lumen output. This allows the projector to fill large screens in dark rooms or effectively combat ambient light in living rooms and other shared spaces.

Where the Home Cinema 3010 was a bit of a departure for Epson, the 5010 is a return to form. The projector’s 2.1:1 zoom lens and extensive H/V lens shift give it some of the best placement flexibility in its price class, while Frame Interpolation and Super Resolution both add subtle enhancements to an already great image. With street prices hovering around $2700, the Home Cinema 5010 is a strong contender in this year’s home theater line-up.

The Viewing ExperienceEven fresh out of the box, the 5010 demands attention. The projector sports a two-tone case, with white top and bottom panels and a black front grill and lens. The slick, streamlined case has some nice touches, such as a control panel that hides away behind a spring-loaded sliding panel cover and a center-mounted lens configuration that will make ceiling mounts easier.

Outwardly, the Home Cinema 5010 resembles a larger Home Cinema 3010, though the similarities are only skin deep. Set up side by side, the differences in performance and image quality are striking: the 5010 has vastly deeper black levels, higher dynamic range, better color saturation, quieter operation, a quieter auto iris, and an overall sharper image. Then again, the 3010 is designed for home entertainment while the 5010 is built for home theater, so the 5010′s better performance is not entirely unexpected.

We set the 5010 up in a darkened room on a rear shelf to take full advantage of the projector’s 2.1:1 zoom lens and H/V lens shift. The projector is a breeze to set up, and the lens shift wheels even have click stops indicating the halfway point in their ranges. All lens controls are manual. The 5010 takes longer to start up than previous Epson projectors by a few seconds, though previous Epson projectors lack the 5010′s powered retracting lens cap. When the projector is not in use, it slides in front of the lens, protecting it from dust and damage automatically.

As far as placement goes, the Home Cinema 5010 can produce a 120″ diagonal 16:9 image  anywhere between 11′ 8″ and 25′. Lens shift is extensive as well. 2.9 picture heights of total vertical range allow you to place the image entirely above or below the centerline of the lens with room to spare for ceiling or table mounting, while 1.9 image widths of horizontal range allows for nearly 50% shift in either direction. This is more or less the best shift range available on a projector in this price class, and it allows for a wide variety of installations.

With all the lights out, Cinema mode’s 827 lumens make it a perfect fit for a 130″ diagonal 1.0 gain screen, or a 140″ diagonal screen at 1.3 gain. Users of smaller screens can avail themselves of Eco lamp mode or the projector’s generous zoom lens in order to lower light output from this point. If ambient light is a concern, several of the projector’s other image modes — namely Dynamic and Living Room — offer light output more than double that of Cinema mode, though color and contrast are compromised as a result.

EPSON PowerLite 5010 Home Theater Projector