There are further tweaks available for the picture’s gamma levels, overscanning (make sure this is set to zero for HD viewing), and clarity, the latter being based on altering the picture’s luma and chroma transmission. As you can see from this quite technical adjustment, BenQ has been surprisingly uncompromising in the thought it’s given to getting the best out of what is, after all, a very affordable projector.
It’s fair to say, then, that the onscreen menus give you plenty of set up flexibility. I was also appreciative, at set-up stage, of the projector’s vertical image shifting functionality. But there is one rather important limitation of the W5000 you should be aware of: its level of zoom is only 1.2x, meaning that the projector won’t adapt to a wide variety of room sizes especially well. As a result, we’d suggest that you measure the distance between your screen and preferred projector position and check the W5000 fits the bill with your nearest BenQ dealer before buying one.
In most ways, the W5000’s pictures are really rather marvellous. Take black levels, for instance. Even though on paper the W5000’s contrast ratio is only claimed to be 10,000:1 – considerably less than some of the figures bandied about with gay abandon by a few LCD models these days – the reality is that the W5000 delivers some of the very richest, deepest and above all most consistent black levels we’ve seen on any DLP projector – never mind one costing under £1,500.
Clearly the combination of the Advanced Continuous Electronic Iris and DynamicBlack processing know their onions. What’s particularly impressive is the way the near pitch blackness on show during the night-time scenes of ”Apocalypto” on Blu-ray looks completely stable at all times, with practically no trace of the brightness ‘jumps’ seen with most dynamic iris projectors – especially LCD models.
After the projector’s black levels, the W5000’s most outstanding achievement is its sharpness. It makes every single one of its 1,920 x 1,080 pixels count in reproducing 1080-line sources, delivering them with a level of detail and clarity that is nothing short of remarkable on a projector at this price.
During ”Apocalypto”, for instance, you can’t just make out every leaf on every tree. You can make out every vein of every leaf on every tree, not to mention the individual pores on faces and bodies during extreme close-ups.
What’s more, with overscanning turned off, these extreme detail levels are delivered with terrific purity, helping the picture enjoy a sense of three-dimensionality and scale that frankly I’d normally expect to find after parting with twice as much as cash. This quality really helps deliver the potent dual sense of claustrophobia and grandeur that characterises the jungle setting for our ”Apocalypto” test film.
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