Toshiba TDP MT 200: Objective Tests With Factory Settings
All the qualities associated with the Darkchip 2 chipset showed up here. Blacks were deep and shades of gray appeared very distinctly. The four levels of white on the bottom of the test pattern were quite distinguishable, without aggressiveness in the brightness. Of the three gamma modes available on the MT 200, the theater and standard modes are preferable to the dynamic mode, which should be reserved for game consoles and TV programs. The colors looked very attractive, and the factory adjustments seemed just fine. Finally, the sharpness as set at the factory was also very good. The great majority of the vertical lines were distinct. The definition of the horizontal lines was just as satisfactory. You might want to increase the sharpness setting by one notch, but that will depend on the video you're watching.
Toshiba TDP MT 200: Subjective Tests
Optimizations before subjective tests
The focal length and zoom of the MT 200 don't allow an image larger than 68" (1.72 meters) with a projection distance of 10.2 ft. (3.10 meters). Also, there is no lens shift function, which means the projector has to be placed in the middle of the screen, and perpendicular to its base. The viewing distance necessary for the pixels to disappear is twice the screen horizontal. At that distance the image is perfect, without visible pixelation.
From the first movie excerpt we saw, we were astounded at the quality. The image is stable, and even more so in progressive mode, even in very wide shots as in Star Wars I and II. And there were no problems with the black density - it was even the best we've seen up to now. In the darker scenes of Blade II, the pack of monsters could be clearly seen - it was hair-raisingly realistic. And the grenade explosion showed good coherence between brightness and contrast.
As for colors, Finding Nemo impressed us the most. It was dazzling. The image was at once soft, sharp and warm. The contrast was gripping; it was simply a pleasure to watch.
However this model, which already qualifies as exceptional, showed its limitations with Minority Report. We had to re-set the brightness and contrast adjustments. In this film in particular, moving to Progressive mode is almost obligatory. The image became much cleaner and more stable. The tube-raising scene had significantly more sharpness and detail. And sparkling disappeared almost completely.