Sony KDL-46HX923 3D LED LCD TV Review

Here at HDTVTest, we’ve not reviewed a top-end Sony Bravia HDTV in some time, so naturally, we jumped at the chance to give the company’s highest-specced LED LCD TV a thorough inspection. The Sony KDL-46HX923 features a Full HD LCD panel, 3D display capability, 4 HDMI inputs, a Freeview HD tuner, and in what is sure to be the standout feature for video enthusiasts, LED local dimming, allowing contrast performance beyond that of typical CCFL-backlit and edge LED LCD televisions.

Although it’s the priciest out of all of Sony’s HDTVs this year, some additional accessories are included to soften the financial blow: the HX923 ships with two pairs of Sony’s new 3D glasses, and in what we think is a first for any manufacturer, a webcam/ microphone communication unit, which can be used with this internet-capable TV’s Skype-calling functionality.

Will the Sony KDL-46HX923 set a new standard for LED LCD image quality? Let’s find out…

Note: The specific model we tested was the Sony KDL46HX923BTN, which denotes the 3-pin-plug British version. While we did not review the 55-inch Sony KDL-55HX923, there should not be any drastic difference in picture performance given similar specifications bar screen size.

Jump To: Operation • Calibration • Picture Performance • Conclusion

Design

Although it’s easy enough on the eyes, we think it’s a shame that the Sony KDL-46HX923 doesn’t look as stunning or as distinctive as flagship Sony displays from the past (we’re thinking of the sophisticated-looking X2000 or X3000 series, or even just the iconic 2005 V-Series, which launched the BRAVIA brand back in 2005 and made black TVs the “in” thing again, when silver plastic was the done thing in the TV market).

The Sony HX923 is styled in dark, shiny black, has a thin bezel surrounding the 46″ LCD panel, and a grey-blue illuminated Sony logo below. It’s also remarkably thin, despite the fact that this 3D TV features LED local dimming. The television has a “one-sheet-of-glass” design, with the edge where the LCD panel meets the bezel being invisible when it’s turned off.

The tabletop stand is styled with a “brushed-steel” effect. Assembly was fairly straightforward, and afterwards, the panel sat firmly on top of the stand, giving us no concerns about the completed unit’s stability.

Connections

The Sony KDL-46HX923 features 4 HDMI inputs, which is the standard for modern HDTV displays, and should serve almost everybody. SCART and Component interfaces are also accommodated via break-out adapter cables supplied in the box. The back panel also features a PC “VGA” input, 2 USB inputs, an optical audio output, and a LAN socket for users who want to connect to the internet without using the HX923′s built-in wireless connectivity. Naturally, there’s also an RF input for feeding the DVB-T2 Freeview HD tuner.

Rear: 4 x HDMI, VGA, Component, SCART, aerial, ethernet & audio outs

We’re glad to see that, unlike Sony’s first 3D TVs, no additional 3D “transmitters” are required: the KDL46HX923 is ready to go with 3D, straight out of the box. Interestingly, this 3DTV also has a small camera mounted on its front, which can be used with the “Distance alert” feature – the purpose of which, apparently, is to detect faces and warn children when they sit too close to the screen. It seems a little wasteful for Sony to include a camera for this purpose in the TV, but then use a separate webcam unit for the TV’s Skype-calling feature… perhaps they’ll become one on a future model?

Operation

The same menus as we spotted on lower-end 2011 Sony HDTVs are present on this top-end model, with one critical difference: they respond faster to user input. We still feel they’re a little cluttered, and we don’t like the fact that calling up the menu while watching 3D content will cause a delay while the HX923 switches back to 2D mode, and then back into 3D once you choose to access the Picture menu.

The user scrolls left and right to select a main category, then up and down to select options within. After selecting an option, the interface changes slightly, with settings appearing on the left side of the screen, using the same layout as on older Sony televisions. Most of the adjustments that are of interest to us are in the “Display” menu. “Picture” houses most of the video controls, although a separate “Screen” menu is used to configure 4:3 content display and Overscan settings.

[Picture] menu

The top-level adjustment on Bravia televisions is actually the “SCENE” menu, accessed by the dedicated remote control button. There are various different modes in here, the idea being that the user will select a different mode (with different picture and sound settings) to somehow suit different genres of programme or film. Since we’re calibrating the Sony KDL-46HX923 for accuracy, we won’t be hopping around the picture modes like this, so we selected the “Cinema” mode. This gives the most untouched, true-to-spec image in the TV’s out-of-the-box state. The other mode of interest to us is “Game”, which cuts out some video processing to speed up responsiveness for gaming or computer use.

This selection, in turn, determines what [Picture Mode] settings are visible in the “Picture” menu. With the “Cinema” scene mode selected, there are two Picture Modes, [Cinema 1] and [Cinema 2], which are perhaps intended to replicate the separate Day and Night modes seen on some other displays. Underneath this, there are standard adjustments for Backlight intensity, Contrast, Brightness, Colour, Hue (which is active for all signal types), Colour Temperature, and Sharpness.

An [MPEG Noise Reduction] filter discards high frequency picture detail in an attempt to curb mosquito noise and visible block edges in overcompressed Digital TV content (we are not fans of this – “sow’s ear, silk purse” is the phrase that comes to mind), whereas [Dot Noise Reduction] detects and effectively filters the “crawling ants” (dot crawl) that can be seen on coloured edges on older Composite video material (think older TV shows, and even some newer US-sourced productions). This is active on all signal types, not just direct Composite input – useful for when old Composite master tapes have been dusted off and used for Digital TV broadcasting, and the broadcasters haven’t done the dot noise reduction themselves.

Next is [Reality Creation], an interesting adjustment which is best described as a highly configurable edge enhancement/ sharpening system. We’ll look into this in more detail later in the review. Then, there’s [Smooth Gradation], a useful control which appears to be the same as the “Smoothing” feature found on some of Sony’s high-end Blu-ray Disc players. This feature detects and fixes contouring in video images, for example, a clear blue sky that, due to contouring artefacts, appears to be made out of separate ridged bands. All consumer-level video sources use 8-bit precision, which can sometimes cause this contouring/ banding to appear, especially in content that doesn’t have film grain or other image noise to conceal the effect. The KDL-46HX923′s video processor operates at the 14-bit level, allowing such content to be effectively upsampled. We’re not sure what depth the LCD panel is fed at, though – we’d imagine that it’s at lower precision (10-bit, perhaps?) and that some of those bits are used for processing overhead.

The next important control is [Motionflow], which is Sony’s frame interpolation system, designed to reduce LCD motion blur. We checked out all the settings using a scrolling motion resolution test chart and found that “Clear” and “Clear Plus” were obviously superior to the other modes. We used “Clear Plus” since it appeared to bring a very, very slight increase in motion clarity without obviously dimming the picture.

The [Advanced Settings] menu screen consists mainly of controls that are redundant as far as our quest for accurate picture quality is concerned. The useful options are the basic [Gamma] curve adjustment, the [LED Dynamic Control] (which we’ll explore later in the review), and the [White Balance] adjustment menu for calibrators. There are still no colour management controls on this flagship Bravia, but this may not be too big an issue if the colour reproduction is good to start with and doesn’t need correction.

2D Calibration

Note: Our Sony KDL-46HX923 review sample was calibrated using Calman Professional, the industry-leading video calibration software.

After we selected the [Cinema 1] mode, we ensured that the KDL46HX923 was configured to have the best fighting chance at producing accurate pictures without specialist calibration. In other words, we turned off features like the [Auto Light Limiter] and [Advanced Contrast Enhancer] to approximate how the LED TV could be expected to perform for users who want accurate-ish picture quality, but don’t want to pay for a full-scale calibration.

2D Mode Greyscale

Pre-calibration RGB tracking and delta errors (dEs)

Accuracy was relatively good in this mode, being on par with competing HDTVs bearing THX Certification (Sony’s don’t, but as the above data shows, they’ve done well on their own). Although the image had a touch too much blue throughout, linearity was excellent, with the same amount of blue bias being present at roughly all brightness levels. This bodes well for calibration.

Post-calibration RGB tracking and dEs in [Cinema 1] mode

We managed to reduce colour tinting errors to basically unnoticeable levels at most points, but due to the coarse nature of the low-end [White Balance] controls, we couldn’t fix an excess of blue at 10 and 20% stimulus. This is somewhat disappointing, since the HX923′s 14-bit video processor should surely allow for much finer corrections than this. The presence of a 14-bit video processor leads us to believe that this lessened level of adjustability is down to the way the user interface controls are implemented, rather than an actual hardware limitation. Fortunately, the resulting errors weren’t hugely problematic, although we would have appreciated greater control, seeing as this is not a cheap HDTV.

Gamma curve in [Cinema 1] mode	Corresponding gamma tracking

We had no complaints whatsoever about the ruler-flat Gamma tracking the Sony KDL-46HX923 achieved after calibration. We’ve seen LED-assisted local-dimming LCD TVs before that have introduced severe Gamma inaccuracies, but Sony has got the relationship between the input video signal and the intensity of the LED clusters perfect, so no obvious brightness errors are introduced. The same excellent performance was true when we measured with both standard patterns and also specialised APL (Average Picture Level) patterns, which was very encouraging indeed.

2D Mode Colour

Before calibration, the KDL-46HX923 was hitting its primary and secondary colour targets fairly accurately. They Greyscale calibration we just performed above did make a small improvement to the accuracy of the secondary colours. Finally, we nudged the [Tint] control one click towards the right to bring about a small improvement to the accuracy of cyan and magenta.

Post-calibration CIE chart with reference to HD Rec.709

Sadly, the Sony KDL-46HX923 can’t fully saturate red, and to a more severe extent, blue, which does look a little purple-ish to those of us used to displays with perfectly accurate colour. Since this appears to be a panel limitation, we wouldn’t have been able to do anything about this even if we’d had access to a full Colour Management system (CMS).

Post-calibration colour luminance (coloured bars = targets; black bars = measured values)

The KDL-46HX923′s colour decoding was very accurate indeed, meaning that even in areas where the saturation and hue (measured above) weren’t fully accurate, the brightness of each colour was correct, which is arguably more important. The brightness of each colour – especially red – was already correct without the need for any adjustment of the [Colour] control.

3D Calibration

After wearing one pair of the supplied Sony TDG-BR250 3D glasses and using it to confirm the out-of-the-box 3D [Brightness] setting was correct, we attached the glasses to the front of our Klein K-10 calibration meter and ran a series of measurements to gather data regarding the accuracy of the KDL46HX923′s 3D [Cinema] mode.

3D Mode Greyscale

3D Pre-calibration RGB tracking and delta errors (dEs)

The final 3-dimensional image, as viewed through the 3D eyewear, was slightly blue-tinted. The slight excess of blue was, again, very consistent, except at 100% stimulus, which had an obvious colour tint. This is the result of Sony’s factory settings having [Contrast] turned up to its maximum level, presumably to counter the darkening effect of the active-shutter glasses. They needn’t have bothered, since the KDL-46HX923 produces exceptionally bright images even in 3D, without the need for throwing away highlight details and introducing such digital thresholding errors.

3D Post-calibration RGB tracking and dEs in [Cinema 1] mode

The colour tint at 100% stimulus was remedied by lowering [Contrast] to 85 (from its default of 100), which still produced a very bright image. Adjusting the R, G and B-Gain controls allowed us to neutralise colour tinting in brighter areas of the image. Shadowed areas were less precise due to the coarse nature of the low-end controls, although the resulting errors were only slight. All in all, the Greyscale tracking quality in 3D is very good indeed – leagues ahead of the very first 3D Plasmas.

3D Mode Colour

We dropped the [Colour] control by 2 clicks (to position 48), which was the optimal position for the luminance level of Red. That’s the only colour refinement we could really make, since the Sony KDL-46HX923 doesn’t feature a colour management system. We also experimented with the [Tint] control, but it was best left in its default/ neutral state. Regardless, accuracy was very good indeed, with only slight deficiencies in saturation being visible compared to the 2D mode.

3D Post-calibration CIE chart with reference to HD Rec.709

3D Post-calibration colour luminance (coloured bars = targets; black bars = measured values)

Benchmark Test Results

Dead pixels	None
Screen uniformity	Some brightness differentiation; no tints; no crease on our sample
Overscanning on HDMI	0% with “Full Pixel” turned on
Blacker than black	Passed
Calibrated black level (black screen)	0 cd/m2 (LEDs turn off)
Calibrated black level (ANSI checkerboard)	0.05 cd/m2
Black level retention	Stable with [Advanced Contrast Enhancer] off
Primary chromaticity	Very Good
Scaling	Very Good
Video mode deinterlacing	Excellent jaggies reduction
Film mode deinterlacing	Passed 2-2 PAL and 3-2 NTSC tests in SD and HD
Viewing angle	Excellent for an LCD TV
Motion resolution	1080 with [Motionflow]: “Clear Plus”
Digital noise reduction	Optional
Sharpness	Defeatable edge enhancement
Luma/Chroma bandwidth (2D Blu-ray)	Full Luma, horizontally blurred chroma except in “Game” and “Graphics” modes
1080p/24 capability	No judder in 2D or 3D
Input lag	31ms compared to lag-free CRT
Full 4:4:4 reproduction (PC)	Yes, in “Game” and “Graphics” modes

Power Consumption

Default [Auto] mode (2D)	70 watts
Default [Auto] mode (3D)	127 watts
Calibrated [Cinema 1] mode (2D)	56 watts
Calibrated [Cinema 1] mode (3D)	73 watts
Standby	1 watt

Figures taken with full 50% grey screen.

Picture Performance

Black Level

Since the Sony KDL-46HX923 features a locally-dimmed LED backlight array, it’s capable of achieving some impressive contrast performance by dimming the brightness of the LED light clusters relative to the brightness of the video signal. For example, a large area of fully black pixels can have the lighting behind the appropriate area behind the LCD panel turned off entirely to produce true black (0 cd/m²). Unsurprisingly, a full black screen returned this result when measured.

This process isn’t perfect, of course: there are only so many different LED zones to serve all 2073600 pixels, meaning that like any other local-dimming LED LCD display, the precision of the contrast enhancement is approximate. As such, white objects on black backgrounds show a slight “halo” effect; which is unavoidable with such a design. The effect is minimal on-axis, becoming more apparent if the screen is viewed from the sides.

Of course, nobody watches a full black screen, so we were curious to see how well the contrast performance would hold up with the ANSI test chart, which gives a better idea of performance with actual programme material. Here, the black patch in the middle of the chequered white/black screen returned a value of 0.05 cd/m², which, sure enough, is exactly what black measures if we disable the [LED Dynamic Control] option (we’re not sure why anyone would disable it after paying so much for it in the first place, though, but we can hardly complain about being given the option). 0.05 cd/m² is a couple of nits higher than we’re used to seeing on much cheaper Samsung CCFL-backlit LCD TV displays, which seemed a little unreasonable at this price point, but the Sony HX923′s panel has enough strong points of its own (see the next section on Viewing Angle).

Viewing Angle

The off-axis picture quality of the Sony KDL-46HX923 is notable for being clearly better than other VA-type LCD panels. There’s been speculation online about exactly whose panel is inside this HDTV, with sources indicating that it is actually an LCD panel of Sony’s own making. The colour saturation holds up very well when the television is viewed from the sides, and appears to be at least as good as any IPS panel – only without the greyish blacks that IPS tends to display, even when the viewer sits on-axis. It’s not perfect, of course: blacks still lose some of their depth when viewed from the sides, with any halos resulting from the local dimming becoming even more apparent compared to the absolute, zero-black areas.

Unlike some previous Sony displays, which featured Sharp UV2A panels, the alignment of the pixels is entirely uniform:

Motion Resolution

One of the first things we did with the Bravia KDL-46HX923 was run the FPD Benchmark Software‘s motion resolution test chart, in order to find the optimal [Motionflow] mode (which turned out to be “Clear Plus”). Some of the Motionflow modes implement some additional trickery which causes a slight drop in picture brightness, which is why we did this before calibration. The “Clear Plus” mode returned all 1080 lines from the chart, with only minimal flickering in the finely detailed lines.

Motion on the Sony HX923 has a distinct appearance. One curiosity we noticed was that very fast moving areas would appear to have a slightly thickened, edgy appearance. We first noticed this effect with the trustworthy “swing” clip from the FPD Benchmark Software disc. When the girl moved from side to side – or indeed, with any fast camera pan processed by the Motionflow system – we noticed this sharpening effect, which actually looked quite similar to the contouring we see on some Plasma televisions. Upon seeing this, we instantly remembered hearing of Sony’s “IB (Image Blur) Reduction” processing at trade shows a few years ago. The point of the processing is apparently to pre-sharpen motion that’s blurred in the original video source (for example, due to the shutter speed of the camera), as a form of pre-compensation for the LCD panel’s own inevitable blurring effects. It’s somewhat successful, but we’d argue that it really only changes the nature of the blur rather than preventing it, and may not be to everyone’s taste. IB Reduction isn’t explicitly mentioned in the HX923′s specs, but from what we gather, it’s part of the various image processing technologies that form the “Motionflow” branding (at least on higher-end Sony TVs), and would explain what we were seeing.

One of the most accessible examples of seeing this processing in action is to tune to a news channel featuring a scrolling headline ticker, which will be processed by IB Reduction provided the Motionflow system is enabled. When you press the MENU button on the remote, the IB Reduction appears to be disabled for a half-second before the menu appears. It’s a novel approach, although one which we would appreciate a bit more control over. One thing we should point out is that we didn’t notice this processing affecting films.

We ran our Motion Interpolation test sequence on the KDL-46HX923, and found that all of its Motionflow modes actually have some sort of motion interpolation running at all times, although we had to use a dedicated test to actually find this out, which should give readers some idea of how mild it is. The fine details in our custom-made test pattern did show “shredding” in areas of complicated motion, but we only saw equivalent issues with real 24p film content once or twice. In other words, although the Sony KDL46HX923 doesn’t produce entirely untouched motion, there’s nothing like we’d call “soap opera effect”, provided the “Auto1″ film mode is selected.

3D Material

The Sony KDL-46HX923 does well with 3D in many respects: there’s no blatant Greyscale tracking uneveness to give extra-dimensional images unwanted colour casts, and colour accuracy is suitably good, too. The out-of-the-box performance (very important for 3D given the expense of the necessary calibration equipment) was also highly servicable. Watching in the third dimension brings nearly the same picture quality as 2D, although the right eye image has a slight “vertical line” structure visible (the effect isn’t really troubling though). Unlike Panasonic’s 2011 Plasma TV displays, Sony’s HX923 LED TV resolves all 1080 lines from a 3D source without any softening or aliasing, and since it’s an LCD-based display, there’s no dithering noise in the image in 3D mode.

However, crosstalk is still present, and this is certainly the KDL-46HX923′s biggest issue with 3D. Panasonic have recently convinced us (with their DT30 LED LCD) that LCD display technology can deliver a surprisingly crosstalk-free 3D experience, and Samsung’s 2011 3D LCDs are managing well in this area, too. In fact, Sony’s 46HX923 looks somewhat 2010 in this regard.

The supplied 3D glasses are designed specifically to block light out from the sides of the viewer’s eyes, so have thick plastic surrounding the eye area, but still manage to be lightweight and mostly comfortable. One of our biggest annoyances, though, was that we had to keep our head (and 3D eyewear) completely level, because even a small tilting of the viewer’s head causes a more reddish or blue tinge to appear in the picture.

We ran our battery of 3D motion tests on the KDL-46HX923, and noticed that by default, the TV introduces obvious motion stuttering into 50hz (European style) 3D content – the easiest way of seeing this being to engage the 3D mode on a news channel with a scrolling headline ticker. Fortunately, disabling the [Motionflow] system cleared this issue up. Lastly, when we played 24p Blu-ray 3D movies, we were glad to see there was no motion judder being added by the HX923 – again, we had to ensure [Motionflow] was disabled to avoid stuttering.

Standard Definition

The Sony KDL-46HX923 does a good job with standard-def content, although after reviewing a lot of Plasmas lately, we always miss how their natural flicker/ pulsing disguises some of the overcompressed horror readily available on SD (and some HD) Digital TV channels, in a way that no LCD panel does. (The aforementioned Plasma flicker isn’t to everyone’s taste, of course).

Scaling is good, although not the crispest we’ve ever seen. The Sony KDL46HX923 performed very well with diagonal interpolation, meaning that jaggedness very rarely appeared on diagonal lines during the SD-to-HD conversion process. The KDL-46HX923 also excelled with film mode deinterlacing, effortlessly locking onto the 2-2 PAL film-to-video transfer cadence (as well as many of the American-centric NTSC variants) without so much as a hitch.

High Definition

Like all Sony Bravias we’ve reviewed recently, the KDL-46HX923 did very well when fed 24fps film content from Blu-ray. Using the “Clear Plus” [Motionflow] setting and the “Auto1″ [Film Mode], camera pans were reproduced with near-cinema quality motion, without any video/telecine judder. Of course, as we found out during the Motion Resolution tests, there is some subtle motion processing going on at all times with the 46HX923 (unless Motionflow was disabled entirely), but we didn’t find it noticeable with actual films – only with test patterns specifically designed to reveal it. And, unlike Samsung’s comparable HDTVs, the Sony KDL-46HX923 didn’t smudge or smear film grain textures from Blu-ray Disc movies, meaning that the gritty feel and full-resolution visuals from films came through unscathed (provided the TV’s optional Noise Reduction control was disabled).

For softer HD material, such as films scanned from sources other than the original camera negatives (Lost In Translation, for example), and for broadcast HDTV which is typically lacking “oomph” due to the higher levels of compression, we experimented with [Reality Creation], specifically in its “Manual” mode. [Reality Creation] appears to be a specialised edge enhancement (picture sharpening) system that has been designed to avoid the ringing artefacts commonly associated with conventional sharpening processes. Turning the [Resolution] setting up darkens and thickens outlines in the image, whilst keeping ringing/edge glowing to an absolute minimum. The effect is novel, but still artificial-looking if it’s taken to extremes. It can be beneficial for softer HD material, though, and is a welcome, optional alternative to conventional sharpening controls.

Fortunately, there have been more excellent Blu-ray movie releases in this early-ish stage in its life than there ever were on the DVD format, and in fact, nearly any disc made from a digital intermediate source (in other words, just about any modern film) has a fighting chance of looking absolutely excellent on BD without the need for any in-TV sharpening. Discs like these – for example, Tron: Legacy, Unstoppable, and True Grit(to give three fairly random and recent examples) all looked great on the Sony Bravia KDL-46HX923 LED TV. The only inaccuracy we spotted was with the familiar blue oceans in Studio Ghibli’s animated film Ponyo, which looked less aquamarine and more purple, due to the HX923′s slight colour inaccuracy with blue. Still, we had very few complaints with the KDL46HX923 when watching Blu-ray material, and were very happy with the images it was putting out.

Console Gaming

The KDL-46HX923 gave us a fairly decent gaming experience, with 31ms of input lag (in both the “Game” and “Graphics” modes). Accordingly, first-person shooter games (Halo: Reach) required us to re-adjust to slightly tighter-feeling, weighty controls than would have been ideal. Slower-paced games that don’t require lightning-fast reflexes (role-playing games, for example) wouldn’t feel in the slightest bit out of the ordinary, though.

Conclusion

It’s encouraging to see that unlike many TV manufacturers, Sony hasn’t given up on local-dimming LCD displays, and has managed to build this technology into a slim HDTV design so that it can still appeal to size-zero-inclined buyers. The KDL-46HX923 is a fairly capable 2D HDTV, its biggest strengths certainly being its local-dimming-assisted contrast performance and its impressive viewing angle quality; with colours retaining a good amount of richness even when the TV is viewed from the sides. However, even these impressive attributes still aren’t on the level of considerably less expensive Plasma TVs.

As such, we do have to say that this 3D-capable HDTV’s biggest downfall is its price. Sony’s top-end televisions have never been cheap, but that doesn’t change the fact that at around £2000 (or £2500 if we’re talking closer to the RRP), the Sony KDL-46HX923 is a very expensive set – even when you consider the bundled 3D glasses (two pairs) and webcam/ microphone unit for Skype calls. For buyers who want the contrast benefits of a locally-dimmed LED LCD TV and simply don’t like PDP (Plasma Display Panel) technology, the Sony HX923 is the only choice (at least in the UK at this time of writing), although the cost of entry is high.

Samsung UE40D6530 LED LCD 3D TV Review

It seems like Samsung is stopping at nothing to make ultra-slim LED side-lit displays the new standard for LCD TVs… the company’s UE40D6530, which includes this screen illumination technology and the associated slender profile, sits roughly in the middle of the company’s HDTV ranges. As such, we think it will be of great interest to users looking to snap up a 3D-capable LED-based LCD HDTV and still have some change left over.

The initial specs of the Samsung UE40D6530 are impressive – compared to the company’s top end D8000 LED LCD television, it doesn’t appear that much has been shorn off of this more cost-conscious 3D TV. There are still 4 HDMI inputs, Freeview HD support, and the promise of Full HD 3D resolution. The only differences are the lack of the contrast-enhancing “Micro Dimming” feature, and a lower claimed motion resolution rate (which should translate into less crisp movement, although we’ll see for ourselves during this review). The panel also loses the satellite (Freesat) capabilities. The manufacturer’s extensive internet TV features and the “Smart Hub” still make an appearance, which is surprising.

We’ve been mostly very impressed with Samsung’s budget traditional LCD televisions in the past, so let’s see if the Korean giant can impress us now that edge LED backlight technology has been added to the mix.

Note: While we did not test the 32-inch Samsung UE32D6530, there shouldn’t be any significant difference in picture performance given that models in the D6530 series share similar specifications.

Jump To: Operation • Calibration • Picture Performance • Conclusion

Design

The Samsung UE40D6530 is a beautifully styled HDTV, in fact, we actually prefer its appearance to the high-end D8000 model (although this is, of course, highly subjective). We’re happy to see that the four-legged, fingerprint-prone “claw” stand doesn’t make an appearance here. Instead, we’re treated to a more basic, but also very stylish square tabletop block with a “brushed steel” appearance – perhaps we’re just traditionalists, but we prefer this. The HDTV itself features a thin, shiny grey-black border, which is itself surrounded by glass-like transparent acrylic. The entire unit is only about 3cm thick. It is almost certainly the nicest looking LCD TV we’ve seen this year.

Connections

Although lacking the Satellite tuner input that more expensive Samsung HDTVs feature, the UE40D6530 still sports 4 HDMI inputs, support for SCART, Component, Composite video, PC “VGA”, and of course, a Freeview HD tuner. There’s also a LAN socket, although once again, even at this lessened price point, the LED LCD TV also features built-in Wireless capabilities, so we imagine it will go largely unused.

Rear: 4 x HDMI, VGA, component, SCART, aerial, ethernet & audio outs

Operation

Samsung’s usual clear, legible menus make a return on the 40D6530. However, they’re more responsive than those seen on higher end models, because they lack the fancy transition animations – which is absolutely fine by us (more than fine, in fact). A quick look through the advanced picture settings menu reveals that the UE40D6530 features all of the calibration tools available on higher end displays. Samsung’s three-axis colour management system (CMS) and 10-point Greyscale adjustment menus are included here.

[Picture] menu

2D Calibration

Note: Our Samsung UE40D6530 review sample was calibrated using Calman Professional, the industry-leading video calibration software.

In its default mode, the Samsung D6530 was putting out a sharpened, blue-tinted, hyper-real image which doesn’t really suit high quality home viewing (but will certainly grab attention in crowded stores). We selected the “Movie” mode from the TV’s Picture menu, since this is the most accurate out of the box preset mode, and ran some initial Greyscale measurements to see how correct the television’s colour reproduction was. We left the “Colour Space” setting at “Auto” before making any complex colour adjustments.

2D Mode Greyscale

Pre-calibration RGB tracking and delta errors (dEs)

The pre-calibrated Greyscale tracking on our Samsung UE40D6530 review unit was very similar to what we saw from the high-end D8000 LED TV: overly red by default, but uniformly so. We imagine this won’t be overly troubling to users who aren’t used to watching accurate displays. To our eyes, it’s much easier to ignore than a picture that’s overly blue.

Post-calibration RGB tracking and dEs in [Movie] mode

We then calibrated the HDTV, so we could see what it was capable of when pushed to its absolute limits. Achieving essentially perfect Greyscale reproduction was a cinch thanks to the controls Samsung has provided. First we used the regular 2-point White Balance menu (which has six controls: RGB levels for both the low and high ends) to achieve highly accurate Greyscale tracking at all points. Then, we used the 10-point control to make smaller, more specific corrections – for example, to the 10% (shadowed) areas of the image, which still had a blue tint (common for LCD-based displays). The end result is absolutely excellent, even more so when the UE40D6530′s price is considered.

Gamma curve in [Movie] mode	Corresponding gamma tracking

Not everyone is aware of this, so let’s reiterate it: calibrators can also use the 10-point White Balance menu to flatten out the D6530′s Gamma tracking, by adjusting all three controls simultaneously. You can see the perfect results above for yourself. Since we calibrated to 2.2 (for usage in a normally lit room, and for consistency with our other reviews), we raised the [Gamma] setting to +1. Reducing it will give a “punchier” image, with lessened shadow details, more suitable for darkened viewing environments.

2D Mode Colour

Before we did any specialist calibration work on the UE40D6530, we measured how its colour performed in the out-of-the-box settings. The answer is, very well indeed. Red, Green, and by extension, Yellow, were all suitably accurate, although the colour of Blue was slightly off, as was Magenta. Samsung’s three-axis colour management system allowed these errors to be corrected. The only sticking point was Blue, where we could minimise the error, but never saturate the colour fully. We did also feel that the adjustments were not as fine (that is to say, they were coarser) than on higher-end Samsung displays, but couldn’t verify this. In any case, we were very happy with the final accuracy.

Post-calibration CIE chart with reference to HD Rec.709

Post-calibration colour luminance (coloured bars = targets; black bars = measured values)

Since the colour management menu indirectly allows for control over Luminance (or colour “brightness”), we weren’t surprised that we managed to achieve perfection in this area, also.

3D Calibration

We attached a pair of Samsung’s SSG-3100GB active-shutter 3D glasses to the end of our Klein Instruments K-10 non-contact calibration meter, enabled 3D mode on the TV, and turned on the glasses. We then took the following measurements to get an idea of the picture quality of the UE40D6530 in its 3-dimensional mode.

3D Mode Greyscale

3D Pre-calibration RGB tracking and delta errors (dEs)

Out-of-the-box accuracy was not a strong point, which wasn’t too surprising given the 40D6530′s price point. The image had a visible greenish appearance in 3D mode before calibration. In fact, when we saw the above measurements, we had to double-check that the glasses hadn’t shut themselves off during the reading.

3D Post-calibration RGB tracking and dEs in [Movie] mode

A large improvement was possible, but the final Greyscale tracking quality in 3D is basically on the same level as the company’s first-generation 3D LCD TVs. We could certainly have done with 10-point Greyscale controls here (Samsung doesn’t offer them in 3D mode on any of their models, unlike some other manufacturers), but that may be asking for a lot on a mid-range model. The final calibrated Greyscale quality could be described as “decent” in 3D, although this may be a moot point since most calibrators are not configuring the 3D modes of 3DTVs to this extent (perhaps in the years to come…)

3D Mode Colour

As with all of Samsung’s 3DTV models, there is no separate colour memory for the 3D mode: colour management info is stored per-input, rather than “per dimension”. Although we could theoretically have achieved a better result by dedicating an entire HDMI input just to 3D display, we don’t think anyone would want the inconvenience of this (or the expense of having two players). This is the best practical result we managed to achieve:

3D Post-calibration CIE chart with reference to HD Rec.709

Prior to calibration, secondary colour points were somewhat skewed, but these became far more accurate after Greyscale adjustment.

3D Post-calibration colour luminance (coloured bars = targets; black bars = measured values)

Luminance levels were initially too low. We adjusted these as best we could using the single “Colour” control, which we raised to “55″ from its default position. Green, Cyan and Yellow remained a little too dark, though, and without practical individual control over these parameters, we had to accept this small limitation.

Benchmark Test Results

Dead pixels	None
Screen uniformity	Very good: almost no bright/dark patches
Overscanning on HDMI	0% with [P.SIZE] set to “Just Scan”
Blacker than black	Passed
Calibrated black level (black screen)	0 cd/m2 (TV turns off LEDs)
Calibrated black level (ANSI checkerboard)	0.04 cd/m2
Black level retention	Stable with [Shadow Detail] set to +2
Primary chromaticity	Very Good (mild error with Blue)
Scaling	Excellent, smooth, jaggy-free
Video mode deinterlacing	Very effective jaggies reduction
Film mode deinterlacing	Failed 2-2 PAL film cadence test
Viewing angle	Very Good for an LCD TV, slight colour loss
Motion resolution	900, with some small “sparkling” around edges
Digital noise reduction	Mild film grain smoothing forced, except in “Game Mode”
Sharpness	Defeatable edge enhancement
Luma/Chroma bandwidth (2D Blu-ray)	Full Luma, Chroma horizontally blurred
1080p/24 capability	No judder in 2D, judder with 3D Blu-ray movies
Input lag	46ms compared to lag-free CRT
Full 4:4:4 reproduction (PC)	No, 4:4:4 input subsampled in all modes

Power Consumption

Default [Standard] mode (2D)	74 watts
Default [Standard] mode (3D)	90 watts
Calibrated [Movie] mode (2D)	80 watts
Calibrated [Movie] mode (3D)	90 watts
Standby	1 watt

Picture Performance

Black Level

During the day, we could hardly be happier with the UE40D6530′s contrast performance. The “Ultra Clear Panel” allows the image to have a wonderful “glossy” appearance. As usual, viewing in a darkened room was a bit more revealing, but the blacks still held up very well, measuring 0.04 cd/m² when measured with an ANSI checkerboard test pattern (which gives a very good indication of contrast performance with actual content). This is opposed to measuring the Samsung D6530 with a fully black screen, which of course returns a value of 0 cd/m² (absolute black), since the TV shuts its LEDs off to save power.

Motion Resolution

Prior to calibration, we tried out all the different motion-affecting settings on the Samsung UE40D6530, and settled on enabling [Motion Plus] with the “Custom” mode set for maximum blur reduction and no judder reduction. We also enabled [LED Motion Plus], which makes a noticeable improvement to the reproduction of fine moving details (at the expense of some brightness – moreso, we think, than the higher-end implementations of the same feature). The 40D6530 is not as bright as some other Samsung flat-screen televisions, even with its [Backlight] setting turned up full, but even in this configuration, it was putting out enough light for our fairly standard environment.

The HDTV resolved around 900-1000 lines in the FPD Benchmark test chart, although the [LED Motion Plus] setting required to achieve this result did cause some slight “sparkling” (which we presume is the result of the LCD panel being overdriven). It was far less severe than the similar noisy dithering artefacts we see on some Plasma TVs, though.

Overall, motion wasn’t quite as clear as the top-end LCD TVs, and certainly not on the same level as Plasmas, but it was sharp enough for us not to mind given the price point. Users who plan on watching sports or other high-motion video content might want to double-check before they buy, but we had very few complaints with the performance on offer here: it’s still very good for an LCD television.

3D Material

The first thing we checked out with the UE40D6530 was its 3D capabilities, by running our own 3D resolution test chart. Simply put, it doesn’t do well in this area at all, showing the lowest resolution out of any active-shutter 3D TV we’ve tested. It does seem that Samsung has felt compelled to shoe-horn 3D capabilities into a panel that’s not really suited to it, and the result is what looks like halved vertical resolution. Everything in 3D mode – the image you’re watching, and the 3DTV’s own on-screen menus – displays with jaggedness. This is likely to be even more obvious than any 2D errors might have been, given that it’s advisable to sit closer to the screen of an extra-dimensional television for a more immersive experience.

The vertical resolution check area of our test pattern appeared as a solid grey smudge (it’s supposed to be alternating black and white lines), and the diagonal “stipple” pattern did, too. Unfortunately for Samsung, there is a large “FULL HD 3D” logo displayed prominently on the UE40D6530′s box, which, we’re sorry to say, simply isn’t true. Given that Samsung has publicly denounced its cross-town rival LG over the latter’s usage of the term “Full HD 3D” to describe its passive Cinema 3D displays, this is more than a little ironic. We can only assume this is a promotional mistake of some sort, or that in these early days of 3D, a lack of test patterns (we had to made our own) means that TV makers may simply not be entirely or collectively aware of such limitations.

The Samsung UE40D6530 isn’t the only 3DTV promoted as “Full HD 3D” to actually not be – none of the 2011 Panasonic Plasma TV panels we’ve reviewed have been able to reproduce all 1080 lines of the 3D image, although they’re very close and the limitation is nowhere near as extreme. In fact, the only TV manufacturers we haven’t seen slip up in the resolution area so far have been Toshiba and Sony (although we’ve not seen all of their 3D range). This is unfortunate, because one of the greatest strengths of the active-shutter 3D system that Samsung promotes against the Passive system (which LG are proponents of) is… resolution. With this resolution limitation, we’re only left with the down-sides of the active-shutter 3D method – namely expensive glasses, and some flicker visible in bright areas.

Moving on, motion was a mixed bag. To our surprise, 50hz video in 3D played back without any stuttering at all – something that even the top-end D8000 series of LED TV needs some help with (but can manage eventually). The same is true of 60hz. Unfortunately, we couldn’t get 24fps films – such as those on Blu-ray 3D – to play back with what we call “cinema quality” motion (ideally, we want the picture to show without any new motion being generated by the TV, and also without any juddering). When we turned off all of the D6530′s motion smoothing controls, it was clearly adding a lot of unwanted juddering into the image. As a result, we did something we normally never do, and experimented with the motion smoothing controls for 3D film content. Normally we avoid these controls, since they introduce the so-called “soap opera effect”, causing filmic motion to become video-like. However, many users may prefer this to the stutter introduced with 3D movies otherwise. Unfortunately, the mode isn’t saved independently for 2D and 3D, so users will have to switch back and forth if they deem this to be a workable solution.

We then did some subjective viewing to check for 3D crosstalk and assess the overall image quality. We’re not sure if it’s down to the resolution handicap blinding us to whatever other qualities the image might have, or if it’s just the smaller 40″ screen size, but the image certainly didn’t seem to have the same depth as Samsung’s other 3D displays. Even Cloudy With A Chance Of Meatballs, which usually softens even the most grizzled of 3D hearts, didn’t leap out like we were used to. Crosstalk is present, although not to a horribly damaging extent.

All in all, the 3D performance is something of a blight on the Samsung UE40D6530, and only really serves to damage the company’s attempts at promoting active shutter as the superior 3D system.

Standard Definition

SD material looked nearly as good as it possibly could on the Samsung UE40D6530. Samsung’s “crown jewel” is certainly its scaling engine. It’s not to everyone’s taste, because it doesn’t look as immediately razor-sharp as some other scalers, but it’s ideal for standard-def Digital TV because it appears to resize the image in a way which conceals compression artefacts, mosquito noise, and avoids aliasing (jaggedness). Of course, the company’s own “MPEG Noise Reduction” is gentle and non-destructive, too (although don’t expect to use it to watch Chinese VCDs and have them look compression artefact free!).

Diagonal interpolation (for concealing jaggies on video content) was very good. Film mode detection for PAL 2-2 content (in other words, nearly any film broadcast on television) wasn’t so consistent: we couldn’t get it to lock onto the cadence of the film motion test and stay locked in any of its modes. However, we didn’t find this too big an issue since we imagine most users will have upscaling DVD players with their own film mode detection circuitry (making the TV redundant for everything except movies on Digital TV, which are generally too soft to reveal this limitation much anyway). Unsurprisingly, the performance with the American-centric NTSC system was flawless for all intents and purposes.

High Definition

We were very happy that the Samsung UE40D6530 reproduced cinema-quality motion when fed 24p Blu-ray Disc movies in 2D: that is, it was possible to configure it to show films without any unwanted motion interpolation (“soap opera effect”) and also without any unwanted juddering. We used the “Custom” [Motion Plus] mode and selected Blur Reduction: 10, Judder Reduction: 0 to achieve this. We confirmed that absolutely no motion interpolation was taking place with our own custom test pattern, designed to catch such processing.

Samsung’s (almost) undefeatable noise reduction processing is still in play here, but it’s not as noticeable as it has been in the past for two reasons: first is the smaller 40″ screen, second is the fact that they’ve fixed the bug whereby the filter would reset to its highest setting, causing very obvious smearing. It’s still silly to deny the user the choice of turning it off completely, from our point of view. However, any users who are troubled by this can enable the “Game Mode” setting on the UE40D6530. This disables the 10-point White Balance control (losing a bit of Greyscale neutrality) and means “Motion Plus” can’t be used (not really an issue for films), but fortunately does not add any extra judder to the image – smooth 24p, cinema-quality motion can be had even in “Game Mode”. (We also ran a quick test calibration on the “Game Mode” of this display, for users who wouldn’t be able to tolerate the remaining film grain smearing, and were happy with the Greyscale, Gamma and Colour quality on offer).

Viewed during the day, the panel produces an incredibly deep, believable black, with the screen’s coating being just glossy enough to give the image some additional perceived depth, but not so glossy as to become a secondary mirror. This is thanks to the “Ultra Clear Panel”, a screen coating which we think Samsung has down to a T.

Two other strengths of the Samsung UE40D6530 are, surprisingly, its screen uniformity, and its viewing angle. The colours do desaturate a little when viewed from the sides, and overall brightness does change, but the effect seems more minor compared to many other LCD televisions. Oddly, the Greyscale qualities of the screen didn’t noticeably degrade from the sides – whereas many other LCDs (Samsung’s included) can pick up a mild pinkish tint from the sides, there was nothing of the sort to be seen here.

As for screen uniformity, the 40D6530, while imperfect, presents much less obvious uneveness than the higher-end Samsung LCDs we’ve reviewed. We imagine this is purely down to screen size, though: the higher-end models were 46″ and 55″, whereas this display is 40″. By extrapolation, the 32″ UE32D6530 should be even better in this regard.

And, of course, we ask readers to cast their eyes back to the calibration section – the UE40D6530 is capable of very flat Greyscale tracking (both in and out of “Game Mode”), allowing the picture to be free of unwanted colour casts. Its colour accuracy is also very good before and after calibration, resulting in natural, realistic images.

Console Gaming

Subjectively, the familiar Halo: Reach (which, as a first person shooter, is a good candidate for testing display lag) felt a little tight and unresponsive on the Samsung UE40D6530, although it was still possible to play and do fairly well in online games (long-term owners of laggy displays can sometimes effectively adapt their gameplay around the lag, also). We measured the input lag as being 46ms, which explained the “tightness” we felt.

We also played the new Xbox Live Arcade game Insanely Twisted Shadow Planet – most of which is styled in dark black shadows, as the name suggests – to see how well the LCD panel would hold up. The SPVA-type LCD panels that Samsung use, while arguably the best type of LCD panel for use in an HDTV, often show visible ghosting with dark objects, which is why we checked. Although there was some trailing, it was nowhere near as bad as we were expecting.

Also, speaking personally a Plasma TV owner, although I’m not overly concerned with image retention, it is still an annoyance which can still crop up with the competing display technology. It was nice to play games on a high-quality screen (albeit one that would ideally be a little less laggy) without watching the clock.

Conclusion

At an online price of around £800, the Samsung UE40D6530 presents very good value for money and, in 2D, produces deep, involving, accurate, high contrast video with an absolutely beautiful slim design. Surprisingly, the screen uniformity is very good for an edge LED-backlit LCD TV. As such, we would rather think of this as an excellent 2D HDTV, and just forget about its poor attempt at 3D. Were it to be more expensive, we wouldn’t be so lenient, but given the price the D6530 can be had for, and its other strengths, we don’t think it’s too unreasonable to write the 3D mode off as an experiment gone wrong (although Samsung should revisit the “Full HD 3D” label associated with this 3DTV, because it just isn’t true).

We still don’t like the fact that users are not given full control over the [Noise Reduction] setting, and that we have to enable and set up the “Game Mode” (and give up a little bit of Greyscale neutrality) just to see films without any unwanted grain reduction processing. Fortunately, the work-around for this isn’t hugely damaging, meaning that this hasn’t affected the final recommendation much.

If you’re looking for a brilliantly styled, high-performing LCD TV for watching 2D standard-def and HD TV and films on, the Samsung UE40D6530 is it. Hardcore gamers might want to look elsewhere to get a slightly faster screen, and we can’t recommend it at all for 3D. However, if the Korean manufacturer can keep producing LED-assisted LCDs to this standard, we may end up not missing the traditional CCFL-backlit LCD TVs after all.

Note: the final score ignores the 3D mode of the D6530 due to the fact that it is priced on par with 2D-only models.