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Obviously all these available adjustments could mean that the Pro8100 has the potential to be rather complex for a novice. But you don't have to delve deep into all these tweaks if you don't want to. In fact, just ‘point it at your screen and go'; the Pro8100 is more than happy to help you out via such handy tools as motorised vertical and horizontal image shifting, an exceptional amount of motorised optical zoom (meaning the projector can work in a small room, despite its megalithic proportions), and plenty of keystone adjustment for getting the edges of the picture straight.
I don't mind admitting that so far the Pro8100 has left me feeling pretty impressed. And happily this feeling extends to its performance - at least once I'd got things set up right.
I stress this latter point because initially things looked anything but right. Even with the black level setting set to ‘blacker than black', the colour tone set to normal or Warm 1, and the brightness and contrast levels set to what appeared to be sensible levels based on our test signals, the picture's colours looked off. There was a strangely washed out look to everything, and a tendency for greens and yellows to look disturbingly over-dominant.
Thankfully I didn't just leave things like this, and thought I'd give the Precision Colour System (PCS) a go. And activating it was like stepping into a whole new home theatre world - one which actually did have colours resembling those I'm used to seeing in the real world.
Skin tones become real, greens look in key with the rest of the picture, yellows no longer stick out like a sore thumb - basically, colours suddenly look kind of great.
In fact, with PCS taking the colour reins, the Pro8100's pictures in general start to look very good indeed. For instance, with the new-found colour naturalism comes an appreciation of just how rich and vibrant heavily saturated parts of the picture can be. The sun-drenched scenes in the Bahamas in the Blu-ray of Casino Royale, for instance, are sumptuously colour-rich and dynamic.