Anyway, getting back to the 32LXD60’s other connections, we also find a set of component video jacks, and a CI slot. This latter jack reveals the presence of a built-in digital TV tuner, as it’s there for adding a conditional access module for subscription digital services like Top Up TV.
It’s not all good news on the connections front, however, since conspicuous by its absence is any form of PC connection – hardly ideal on a 32in LCD TV that’s actually slightly more expensive than most. There are only two SCARTs as well, when we’d always prefer three.
The first proper signs that Panasonic really doesn’t see LCD as a second class TV citizen can be seen in the extravagant amounts of new technology that have been poured into making the 32LXD60’s pictures better. Essentially the set boasts a whole raft of new picture improvements, subsumed under the tongue-twisting coverall title of ‘V-Real Advanced LCD AI’.
Heading things up is Active Light Control, which continually manipulates the LCD backlight so that its output always best suits the content of the picture. So for a dark scene, the backlight intensity would be reduced to increase contrast. This helps the 32LXD60 achieve a very respectable (by LCD standards) claimed contrast ratio of 1200:1.
Talking of contrast, an Active Contrast Control element in the new picture engine uses processing to boost the picture’s luminance output, resulting, it’s claimed, in more subtle details for light and dark picture sections alike. This processing component is also intelligent, in that it calculates when to work its magic on bright parts of the picture alone, without unnecessarily ‘bothering’ darker parts.
Next there’s a Digital Remastering circuit that further increases the screen’s contrast range as well as expanding the set’s colour response – a colour response which is itself further enhanced by a new Advanced Colour Management system for boosting the dynamic range of the red, green and blue picture elements. Finally, Panasonic’s Overdrive processing aims to reduce motion blurring by suppressing ‘after images’ and making colour transitions faster.
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