Test Bench: Toshiba Regza Cinema Series 52LX177 52-inch LCD HDTV
Color temperature (Pro 2 Mode/Warm Color Temperature before/after calibration): 20 IRE: 7,785 / 7,547 K 30 IRE: 7,183 / 6,731 K 40 IRE: 6,712 / 6,227 K 50 IRE: 6,894 / 6,359 K 60 IRE: 6,973 / 6,545 K 70 IRE: 6,926 / 6,676 K 80 IRE: 6,894 / 6,598 K 90 IRE: 6,635 / 6,111 K 100 IRE: 6,654 / 6,275 K Brightness (100-IRE window): 35.3 / 35.7 ftL
With the Toshiba 52LX177's Warm color-temperature preset selected, its grayscale tracked within around ±683 degrees kelvin of the 6,500-K standard from 30 to 100 IRE - below-average performance. Adjustments to the blue and green controls in the set's color-temperature menu helped level grayscale tracking out to ±389 K. Color-decoder tests revealed a mild +5% green error on the HDMI inputs and +10% red on the component-video inputs. Compared with the SMPTE HD specification, red, green, and blue color points showed high levels of oversaturation. This issue could be corrected, however, by adjusting the primary and secondary color controls in the TV's Color Master Pro menu. Making this adjustment, as well as improving the set's grayscale tracking with any degree of accuracy, requires measurement equipment and the services of a trained technician, however - so don't try this at home, kids.
Overscan - the amount of picture area cut off at the edges of the TV's screen - measured 0% for high-definition signals when the Native mode was selected. The set displayed 1080i/p and 720p test patterns with full resolution via its HDMI connections, but a 1080i pattern viewed via component-video looked slightly soft. The TV was able to accept 1080p/24 programs from a Blu-ray Disc player via an HDMI connection, but it employs frame interpolation when its ClearFrame 120-Hz mode is switched on - a process that can introduce artifacts.
Screen uniformity was very good when the set was viewed from seats as much as 20 to 30° off-center, with picture contrast fading considerably beyond that point. I also noted some screen "clouding" on black images - film title sequences, for example - though this effect was barely noticeable on regular programs.
The set seemed to have no problem with 2:3 pulldown processing when I watched regular movies on DVD, but it failed the film-mode deinterlacing test on a Silicon Optix HQV DVD test disc. Standard and MPEG noise reduction settings helped to clean up grainy images, but the MPEG setting also removed picture detail at its Medium or High position.