Estimated wait for next available agent :. For Tech Support, call Sony's KDLEX elegantly combines quantity and quality: its screen is big enough that you can easily lose Please confirm that this adapter will work with the stereo you intend to use. Can't find your exact vehicle? Find products that fit.
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The Sony KDLEX is a mammoth, and if you're going to take advantage of that inch screen make sure you have enough room between the TV and the seating area. It's an attractive design, overall, with the elegance that we've come to expect from Sony. The bezel and stand are understated, receding into the background so as to not detract from what's on the screen. In the corner is the jack pack of ports.
Fortunately, the TV panel can swivel on its base, making the ports more accessible. For a inch TV, the panel is incredibly thin. That's the real benefit of LED edge-lighting because uniformity sure isn't a benefit. The panel is so thin that there's no room for control buttons or ports. The ports called out in the photo below are really on the back, but they face the side. The control buttons wrap around the side to the back.
It's nicely staid and simple, in keeping with the rest of the design. The TV panel can freely swivel about degrees in either direction. The Sony KDLEX's are a series of buttons that wrap around from the side to the back, making them both accessible and discreet.
The remote control that ships with the Sony KDLEX is a variant on the remotes from last year's high-end Bravias, with some small but noticeable exceptions. First, there are prominently placed buttons labeled "Netflix" and "Qriocity" near the top. We're not sure how much Sony had to pay for the use of the Netflix name, but it clearly shows how they perceive Netflix's importance to the marketplace.
We think they guessed right. There's no traditional, fat printed instruction manual. More on how we test black level. This proved especially problematic when we switched it over to 3D mode and put on the tinted 3D glasses. More on how we test peak brightness.
Sure, Sony described the TV as having "infinite" contrast ratio utter nonsense , but we're as impressed with this performance as if it had been infinite. More on how we test contrast. More on how we test tunnel contrast. Typically, only plasmas have a hard time in this test. More on how we test white falloff. In this type of TV, the LED lights are arranged along the edge of the screen, then various techniques are used to try and even the illumination out across the entire inch screen.
It's not easy, and clearly not perfect, because we saw a lot of blotchiness and hot spots when we looked at an all-black screen. Even when watching dark-ish content, like a scary movie, the blotches are distracting. Conversely, on a bright screen the edges are dimmer.
We are not pleased. The greyscale gamma test examines how a TV transitions from black to white along the grey scale. The chart below contains a lot of detail, if you know how to read it. First, we're looking at the smoothness of the curve. There are some small hiccups in the lower left, indicating the shadow details.
You can expect this to translate into some loss of detail in the shadows — dark greys may all appear the same shade for a certain span of the signal range. As we move up and right, however, the midtones and highlights look great. There's also the slope of the curve to consider. An ideal slope is between 2. Overall, though, we liked the performance a great deal.
More on how we test greyscale gamma. Look at the chart below. We tested the color temperature at every step of the input range and it hardly wavered. Good job, Sony engineers. More on how we test color temperature. The transitions in each channel were smooth, and the channels moved in a uniform fashion. The blue channel seemed to have a a few more bumps in the line, which indicates that you might see some color banding.
Overall, though, we're impressed that a TV can have such a good color performance as well as great contrast. Too often, we've had to choose between the two. More on how we test RGB curves. The strips below are digital recreations of the RGB color data test, to give you a sense of what the response curve for each channel looks like.
You can see it here compared to three similar TVs and an ideal response curve. Like last year's high-end Sony TVs, the EXs have a feature called MotionFlow that drastically improves motion smoothness and detail loss. There's a big caveat, though. When MotionFlow is enabled, any film-based content takes on a distinctly odd, video-like look. It works by inserting extras frames, derived by an interpolation process. If you're watching sports, MotionFlow is fine, perhaps even helpful. However, it makes watching movies impossibly strange, and you're much better off disabling the feature.
We have to say, though, that it seems to be less heavy-handed than last year's iteration. Perhaps Sony tweaked the algorithm. More on how we test motion performance. Be sure to put the CineMotion mode in Auto 2 in order to get the best performance. In our tests, we noted some problems with high contrast, high frequency patterns, as well as the ability to smoothly render low camera pans.
More on how we test pulldown and 24fps. The Sony KDLEX has a native p x resolution, but much of the content you'll be feeding it will be of a lower resolution.
It's up to the TV's internal processing to take those resolutions and rescale them to fit the screen. Let's take each test in turn. More on how we test resolution scaling. It also had a lot of problems with high contrast, high frequency patterns, which created unfortunately distracting Moires. When we looked at i content, there was no overscan loss, but the TV had some minor problems with Moires in high contrast, high frequency patterns.
All the manufacturers, including Sony, promised better 3D performance with less crosstalk for We're still not convinced. The crosstalk may be slightly lessened, and the glasses are certainly more comfortable, but watching 3D TV is still far from enjoyable. The active shutter glasses are still substantially larger than passive glasses, and the 3D effect breaks down often enough that you have a hard time immersing yourself.
Could you watch a feature film through a zoetrope and have the same carefree, unobtrusive experience as in a movie theater? No, no you could not. It's should come as no surprise that when you put on giant tinted glasses and watch TV, you're going to severely cut down on the screen brightness.
When you put a TV in 3D mode, the colors are processed differently to compensate for the way colors are thrown by the tint in the 3D glasses. Overall, our tests indicate that Sony did a pretty good job. The biggest problem seemed to be producing an accurate white, and then maintaining the color temperature of that white. As with all the 3D Sonys we tested last year, the blue channel is most affected in 3D mode, showing a lot less detail.
There's also a general lack of shadow detail. The color gamut matched up fairly well to its 2D performance. The red and blue points lost saturation, and the white point was quite a bit off the mark. Overall, though, it wasn't bad. Crosstalk occurs when an image intended for one eye bleeds into the other eye. Most frequently, it might appear as a shadow or halo, especially visible in high contrast areas.
By and large, it's the biggest problem in breaking down the 3D effect. There are still plenty of problems, though. Certain colors do very poorly when set on top of other colors. Black on white, for instance, created a total breakdown of the 3D effect. In fact, black objects on any color background were problematic.
White on red and white on blue also caused some problems, but not as bad. In summary, the 3D effect breaks down regularly enough to be annoying and cause headaches. But it's better than last year. The glasses do not ship with the Sony EX series. Fortunately, they've been redesigned since last year, and the weight distribution and weight seems more comfortable.
Anyone sitting at a wider angle than that will be missing a lot of the contrast ratio. If you need a TV to serve a particularly wide room, get a plasma.
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