The HC900's blacks were not as deep, and shadow detail, while quite good, lacked the crystal-clear definition of the 30HD. The 30HD has better black levels and shadow detail as well. Therefore, contrary to what you might imagine from the specs, the 30HD is the brighter of the two units when they are optimized for dark theater viewing. Meanwhile, the 30HD puts out a whopping 580 ANSI lumens, even after video optimization. With settings optimized for video, the HC900 will deliver 300 to 400 ANSI lumens while still retaining optimal video settings - beyond this, you start to compromise picture quality in favor of brightness. However, the HC900 reaches its highest lumen output (up to a maximum of over 1000) in viewing modes best suited to data presentation or video gaming. In terms of brightness, the HC900 had a clear advantage in pure light output over the 30HD. With both of these projectors, as with most models on the market, a little fine tuning goes a long way. The 30HD had excellent color, but the grayscale was getting crushed in the 20 IRE - 0 IRE range, and edges were a bit blurry. The HC900 had some issues with sharpness and edge definition, but the ten-step grayscale was well-defined.
Each has unique advantages over the other, as this side by side comparative review will illustrate.īoth of these projectors have the potential to look exceptionally good after some adjustments of the picture controls, but out of the box they required some fine-tuning.
However, resolution is about where the similarities end. They are both fully-featured, widescreen home theater projectors with native resolutions designed for optimum display of the PAL and SECAM 576-line video formats, and they handle all video formats in the NTSC and HDTV worlds as well.
Two outstanding projectors featuring TI's 1024x576 Matterhorn DLP chip are the Mitsubishi HC900U and the Studio Experience Premier 30HD.
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