- Page 1Panasonic Viera TX-L37G10 37in LCD TV
- Page 2 Panasonic Viera TX-L37G10
- Page 3 Panasonic Viera TX-L37G10
- Page 4 Panasonic Viera TX-L37G10
- Page 5 Feature Table
Getting back to the improvements offered by the L37G10 over the LCD X10 model we’ve seen, the L37G10 enjoys a Full HD resolution rather than an HD Ready one. The L37G10’s quoted contrast ratio is a very respectable one, too, at 50,000:1.
It’s also important to stress in this part of the review that the L37G10 uses one of Panasonic’s IPS Alpha LCD panels. This means that you can watch it from a much wider angle than most LCD TVs without colours losing saturation. And I can tell you right away that this isn’t just marketing spin; it’s actually true!
The IPS Alpha panel in conjunction with Panasonic’s latest V-Real processing engine (Pro 4), meanwhile, also allows the L37G10 to deliver a claimed 800 lines of motion resolution.
Heading into the TV’s clear and reasonably concise onscreen menus uncovers one or two other interesting little tidbits. First, there’s a series of picture presets, joined by an automatic colour management system, an Eco mode that adjusts the picture in response to the amount of light in your room, and multi-level picture noise reduction.
There’s also, tucked away sneakily within an otherwise unremarkable ‘Other Settings’ sub-menu, the set’s Intelligent Frame Creation options. IFC, as its name suggests, uses high-spec processing to introduce extra frames of picture information, so that motion can look both less blurred and more fluid than usual with an LCD TV.
The options available for IFC comprise turning the feature off completely, setting it to a mid level, or whacking it all the way up to High. Intriguingly, if you head for the IFC menu while watching a Blu-ray set to 1080p/24 output, it magically transforms into a similar ‘24p film mode’, with the same off, mid and high settings.
Since we’re on the subject of all this motion processing, we might as well start an analysis of the L37G10’s picture quality by looking at just how the different IFC/24p options stack up.
The first thing I’d say is that using the IFC or 24p film mode on the High setting is for the most part not a good idea. It works well enough with relatively static footage, removing pretty much all trace of judder and leaving motion looking noticeably clearer. But when it’s pushed hard by a sudden fast movement, or a large amount of movement across the whole frame, you can clearly see subtle flickering interference over some of the motion, or subtle shimmering halos around the edges of the moving objects.
Although these artefacts seem much less obvious than they have been on previous Panasonic IFC systems, when they occur, they’re still jarring.
The Mid setting is a much more consistent, ‘gentle’ and therefore usable option. There are far fewer obvious artefacts to contend with, leaving you much freer to become fully embroiled in what you’re watching.
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Inevitably there’s a price to pay in terms of motion that looks both slightly less crisp and less fluid than it does using the High setting. And occasionally glitches can still be seen. But for me this mid setting’s advantages outweighed the negatives comfortably enough to make it the setting I personally would leave on for the majority of the time.