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The new colour wheel has also apparently led to an improvement in the projector’s colour temperature, allowing BenQ’s engineers to steer it closer to the 6500 Kelvins reckoned by pretty much everyone to deliver the best results with video viewing.
Another potentially significant development, presumably also caused by the improved colour wheel, is that the W1000+’s full on/full off contrast ratio has gone up to 3,500:1 from the W1000’s 3,000:1, hopefully resulting in a slightly more punchy image.
We won’t go into all the picture adjustment options available on the W1000+ again here, having covered them in depth in our original W1000 review. But we certainly should stress how remarkably wide-ranging its adjustments are, running to such finery as a full colour management facility, gamma presets, colour temperature control, and white balance control (via red, green and blue gain and bias adjustments).
The only weird thing about all this is that despite throwing everything but the kitchen sink at fine-tuning pictures, the W1000+ remains as lacking in a couple of fundamental setup aids as its predecessor was. As in, there’s no optical vertical image shifting, and only a pretty limited 1.2x optical zoom. The lack of vertical image shifting means some people will have to rely on keystone adjustment to get the edges of their images perpendicular, which is hardly ideal given that keystone essentially 'deforms' the picture from its native state.
Happily, though, the W1000+’s tweaks really have led to an improvement on the picture quality of the original W1000.
The most immediately obvious and welcome advance concerns the rainbow effect. For while the new colour wheel certainly hasn’t entirely removed it, it has reduced it considerably. So much so that now for 90 per cent of the time you only see it if you actively go looking for it - say by flitting your eyes quickly left and right across the screen, or waving your fingers in front of your eyes. Neither of which activities, of course, you’d be likely to do under normal viewing conditions!
There’s a gentle improvement with colour reproduction, too. Or at least that’s the case after spending considerable time recalibrating the colour palette. For in its out of the box state, the preset colour values tend to look either over-vigorous or rather yellowy.
Also striking about the W1000+’s pictures is how rich colours look. This is especially true with the projector’s BrilliantColour mode active - even though usually we’ve found this colour boosting system from DLP’s creator, Texas Instruments, to be best avoided, as it tends to push colours too hard and exaggerate noise.
With the W1000+, though, we’d recommend that you leave BrilliantColour on, even though it can indeed make pictures look slightly noisier, because strangely, in a phenomenon we hadn’t really noticed before with DLP, the BrilliantColour mode seems to produce less obvious rainbowing than the projector’s normal mode.
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