Can 120-hertz technology set LCD free from its motion limitations?
Given the explosion of LCD sales, one might expect LCD manufacturers to simply ease up on technology development. The average consumer seems quite pleased with LCD's image quality, so why change anything? It is to the manufacturers' credit that they continue to strive for improvement, to create a picture that both everyday users and videophiles can appreciate. Thus far, they've focused their efforts on two performance areas: motion and black level.
Remember the days when interlaced was a term used primarily by basket-weavers, and scaling was something the dentist did to your teeth when you didn't floss? Ah, those were good times. . . simpler times, when you didn't need a degree in electrical engineering to pick out a new television set. As we enter the era of large-screen 1080p displays, video processing—or the ability to convert all signal types, from 480i SDTV and DVD to 720p/1080i HDTV to 1080p high-def DVD, to a TV's native resolution—plays a more important role than ever before in overall performance. Even an average TV can make high-quality HD sources look good; the real test is how good a lesser-quality 480i signal looks when blown up on that big 1080p screen.
Do you need 1080p in a 42-inch flat panel? This is an important question, especially for plasma manufacturers that fear losing customers to the LCD camp at this highly coveted screen size. Up until now, plasma technology's cell structure has made it difficult to fit 1,920 by 1,080 pixels into a 42-inch screen size, which seems to have put them at a competitive disadvantage. As I write this, the first true 1080p 42-inch plasma (a Panasonic) is about to hit the shelves at a price of $2,500, but the market is already littered with 42-inch 1080p LCDs priced under $2,000. If consumers believe that they must have 1080p right now, it's fairly obvious which route they'll go.
Video: 2
Audio: 3
Extras: 4 The Last King of Scotland isn’t the first film to weave a fictional story around real-life people and events, but I struggled with this one’s questionable dramatization of some actual events. As a piece of fiction, though, it’s a gripping tale of a young Scotsman who becomes Ugandan president Idi Amin’s personal physician and witnesses Amin’s transformation from visionary to madman.
Video: 4
Audio: 4
Extras: 2
In the world of magic, nothing is as it seems. It’s only fitting that the same would be true of The Prestige, a film about two rival Victorian-era magicians determined to learn each other’s secrets, regardless of the cost to those around them. Based on a novel by Christopher Priest, the film has been carefully crafted by screenwriters Jonathan and Christopher Nolan to be its own magic trick. Even if you believe (as I did) that you’ve figured out the trick halfway through the film, Chris Nolan’s artful direction—or, more appropriately, misdirection—cleverly toys with you, pulling your attention elsewhere without ever losing its grip on the story.