- Written by Chris Eberle
- Published on 16 September 2010
With the generous vertical lens shift available, I was able to install the Q on my shelf rather than inverting. Shift controls are hidden beneath the front trim piece surrounding the lens. Runco includes the appropriate Allen wrench to adjust them. Zoom and focus controls are manual using rings around the lens. While I do prefer these settings to be motorized, I was still able to throw a sharp image with correct geometry. It just took a bit longer t achieve. The four feet are independently adjustable so you can easily level the projector to the screen if it sits on a shelf or table. Ventilation is side-to-side so if you use a hush box, it only needs side openings.
Calibration can be a simple or complicated affair depending on the level of precision you’re after. Out of the box, the color is within a whisker of correct and the grayscale, while a touch red at the 6500K setting, is perfectly watchable. Being the obsessed tweaker that I am, and the fact that I find display calibration to be a somewhat zen activity, I went for that nth degree of performance that I know the Q is capable of. I only had to add a few clicks to the default brightness control and the contrast was lowered to 20 from its default of 100 to give me a peak output of 14.5fL. Gamma was spot-on at 2.2 so I turned to the RGB Adjust menu, which has gains and offsets for each primary to set up perfect grayscale tracking.
To access the color management system, you must first change the color gamut to PCE (Personal Color Equalizer). Selecting any other option prevents adjustment. Once I entered the PCE menu, I found the layout a bit different than what I am accustomed to. I quickly developed a love/hate relationship with this system. To the positive, it is extremely precise with very fine adjustments. As you’ll see in the Benchmark section, I was able to achieve perfect hue, saturation and luminance for all six colors. To the negative, it is rather tedious to use. The hue, saturation and level (luminance) controls are in their own menus, each of which contains the six colors. Whoever designed this system failed to account for the fact that these settings interact. It took me about 5,000 button presses to dial everything in as I went back and forth between the menus to adjust each color. Another obstacle - the starting point is based on the projector’s native gamut which is huge. I had to move the sliders quite far just to get in the ballpark of Rec 709. It would be far easier to select one of the gamut presets and use that as the baseline. Then adjustments would be much smaller. Still, the end result was more than worth the effort.