Heading into the onscreen menus via the reasonably logical, backlit remote finds plenty of calibration tools to get our teeth into. These include a pretty fulsome if somewhat long-winded colour management system, gamma presets that let you make adjustments according to curve type and offset levels, control over a dynamic iris system that includes turning it off if you’re not happy with it, and a 9-stage manual iris adjustment.
Such setting flexibility joins the trio of lens choices and BX-AL133 2.4:1 anamorphic lens option in giving the HD87 custom install potential beyond its price level.
The one glaring omission from the HD87’s features, we guess, is 3D. The Sony HW30, and the upcoming Panasonic AT5000 and Epson 9000 series projectors are all introducing 3D for similar money to the HD87. Plus, of course, as mentioned at the start, Optoma has a pair of 3D models of its own waiting in the wings: the HD33 and HD83.
However, it’s a simple fact that there are still plenty of people out there who couldn’t care less about 3D. So if the HD87 trades 3D for a bit of extra 2D quality, it will surely find a willing audience.
First impressions of the HD87 in action are promising. There’s a really dynamic, bright look to proceedings that immediately goes a good way towards explaining why the HD87 is Optoma’s flagship projector – and why it costs £2700 despite not having 3D. In fact, with some of the provided presets the image is bright enough to support viewing in rooms that aren’t completely blacked out, should achieving total darkness in your room be a problem.
The image is also sharp and detailed without looking stressed (though dark scenes can look a tad noisy), and motion is handled naturally, without serious judder, any significant sign of DLP’s potential dot fizzing issue, or blur.
You can even remove what minor judder there is via an onboard PureMotion processor, but to be honest, even on its lowest power setting, this caused the image to look a touch more processed and artifacty than we felt comfortable with.
While it is possible to see DLP’s rainbow effect (red, green and blue striping over very bright parts of an image or in your peripheral vision) during scenes that contain a stark mix of very dark and very bright content, for the most part it isn’t a significant issue – and that’s speaking as people who have become quite sensitive to seeing it.