Enhancing the clarity further is the way the AE2000’s image processing seems to remove pretty much all traces of video noise, leaving even notoriously ‘gritty’ HD moments like the opening black and white bits of ”Casino Royale” on Blu-ray looking polished and clean. And let’s not forget, either, that since it uses LCD technology, the AE2000 does not have to worry about common DLP issues such as fizzing noise over motion and ‘the rainbow effect’, where stripes of colour can flit about in your peripheral vision.
This projector is also very good with black level response for such an affordable full HD LCD affair. I personally chose to leave the dynamic iris arrangement switched off due to one or two occurrences of brightness jumping, but even with a static iris in play the AE2000 manages to show dark scenes with surprisingly little evidence of the customary clouding interference.
Dark scenes also benefit from some unusually fine greyscale presentation, ensuring that the slightest shift in colour or lighting in a dark area is portrayed with impressive accuracy. This really helps bring dark scenes to three-dimensional life, so that they don’t look like some empty ‘poor relation’ to a film’s brighter moments.
As a last strength of the AE2000, it runs likeably quietly for such a large and bright projector, at least so long as you have the lamp output set to the sort of relatively low level generally best suited to video as opposed to PC use.
And so I come to the first of the little flaws that make the AE2000 merely a good projector rather than a great one: some overcooked colours. By which I mean that some rich reds, blues and especially greens can look rather artificial, standing out a little cartoonishly from the rest of the picture. You can reduce the impact of this problem by selecting the Cinema 1 picture preset. But I never managed to remove it completely, even with the additional help of the colour management system.
On a probably connected note, it also seemed to me that one or two colours, especially during dark scenes, tend to look a touch unnatural in tone.
One final issue is that when the picture’s optimised for a cinematic black level response, it really isn’t that bright – a potential concern for people wanting the AE2000 to ‘drive’ a big screen of 120in or more.
While the AE2000 doesn’t quite maintain the runaway full HD lead exhibited by its predecessor, it’s still a very solid contender that demands an audition. Especially if you think you might be particularly prone to seeing the rainbow effect colour noise exhibited by rival DLP projectors.