Panasonic Viera TX-L37S10B 37in LCD TV Review - Panasonic Viera TX-L37S10B Review


The only other things worth even a passing mention are a fairly basic noise reduction system; the facility to tell the TV the distance between its speakers and your wall (to improve sound quality); and a small selection of thematic image presets.

A final scan of the L37S10’s specs reveals a classic good news/bad news scenario. For while the TV doesn’t let its entry-level status prevent it from sporting a Full HD resolution or a dynamic contrast system that can produce a healthy claimed contrast ratio of 50,000:1, there’s no sign of any 100Hz processing, or Panasonic’s Intelligent Frame Creation (IFC) processing for reducing motion judder.

Funnily enough, though, I didn’t find myself missing one of these two processing tools nearly as much as I would have expected. For when it comes to motion blur there’s really nothing serious to worry about at all, with the L37S10B’s native response time clearly good enough to keep this most long-lived and irksome of LCD picture quality issues comfortably at bay, even during sports footage.

Unfortunately, though, while motion blur seldom troubled me with the L37S10, motion judder most certainly did. Without the IFC system to help out, camera pans routinely look slightly ragged and stuttery, especially when watching 1080p/24 from a Blu-ray. This sort of thing is extremely common on entry-level TVs, of course. But somehow it seemed slightly more aggressive on the L37S10 than usual.

While in a fault-picking frame of mind, I’ll add too that the L37S10B’s black levels didn’t set my eyes alight. Trying to play online the original ‘Makin’ level of Call of Duty 5: World At War, with its night-time setting, really wasn’t fun at all, as the tell-tale low-contrast grey mist hung over the map’s dark corners, leaving me a sitting duck to enemies hidden away in the murk. Well, that’s my excuse for yet another lame online COD5 experience, and I’m sticking to it!

And anyway, my gaming excuse is backed up by movies, as the dark sequences down the mine shaft at the start of There Will Be Blood look grey and strangely empty, as the screen fails to resolve nearly as much shadow detail as I’d like. I should add, too, that these results were recorded using the Cinema preset that generally delivers the best black level response; the greyness becomes considerably worse if you use the Normal or especially dynamic presets instead.

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