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It is controlled with a row of buttons in the bottom right of the front panel. Besides the standard set of buttons you can find on Samsung’s monitors of this class, this one also offers a button to enable the MPA mode I described above. Besides MPA, the monitor provides quick access to the MagicBright modes, to the brightness setting, to choosing the video input, to the auto-adjustment feature, and to enabling Picture-in-Picture mode.

The menu structure hasn’t changed since the 244T, but its interface has got prettier. The menu is still not quite user-friendly, mainly because it doesn’t remember the last changed item. It always opens up on the input selection tab.

Added to the color temperature and gamma options and to the fine color reproduction setup by six coordinates, there is a Color Innovation menu item offering three values: Custom, Mild, and Brilliant. I’ll talk about it shortly.

A new and long-anticipated option is the opportunity of regulating the brightness of the Power LED, up to disabling it altogether. This is indeed a valuable option because the LED is blinking on Samsung monitors in sleep mode, and many users don’t like it.

The monitor has 100% brightness and 81% contrast by default. To achieve a 100nit white I selected 30% brightness and 39% contrast.

I want to note here that a considerable (below 60%) reduction of contrast leads to an abnormally intensive red, but you can correct the problem by lowering the level of red by 5-8 steps in the menu of color reproduction setup by six coordinates (the 6-Color option shown in the photographs above). This problem doesn’t occur in the MagicBright modes because the contrast is 66% in the darkest of them and higher in the others.

Note: The problem with over-saturated red was successfully solved in the second sample of SyncMaster 245T we received later – it didn’t require a manual adjustment of color reproductions settings .

By the way, any reduction of contrast reduces the matrix’s dynamic range whereas a reduction of brightness (if it is done with the lamps) does not. That’s why it is always preferable to achieve the best-looking image using the brightness setting, especially as it has a wide adjustment range in the 245T.

Darks and lights are reproduced properly, never merging into black or white at any values of brightness and contrast, from 0 to 100%. Color gradients are reproduced perfectly, too.

The average brigthness uniformity is 2.6% on black; the maximum is 11.1%. That’s a good result. There are no bright spots on the screen. The 245T is better in this respect than its precursor 244T.

Alas, the irregularity is higher on white: 3.8% on average and 17.2% at the maximum. The distribution of the irregularity is similar to the 244T: the right part of the screen is darker than the left.

 
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