更新功耗！松下和三星今年的PDP旗舰CNET报告已经出了，呼唤几位高手来分析一下。

AM0055

Rated Power Consumption & On mode Average Power Consumption

64VT60 585W 189W
60VT60 472W 169W
55VT60 472W 149W

64ZT60 620W 189W
60ZT60           169W



Maximum Power Consumption & Typical Power Consumption
64F8500 653W 218W
60F8500 637W 195W
51F8500 467W 155W


三星是最亮了，51F8500的功耗比60E8000都大。
请教一下，可以用功耗/尺寸，算的的单位面积上的功耗，来比较各个尺寸白色的最大两度么？



http://reviews.cnet.com/televisions/

Picture quality
Every year I wonder at how Panasonic can squeeze a better picture out its plasma TVs, and the VT60 does it again. It's definitely a step up from last year's incredibly good VT50, and overall the best TV we've tested...ever. We still haven't tested the ZT60, however, which promises even better overall picture quality.


Picture settings:
Panasonic TC-P60VT60
If you want ultradeep blacks on your TV screen -- and that's what we all should want, since they're the chief ingredient in amazing home theater picture quality -- you'll find them in the Panasonic VT60. This TV beats the Samsung F8500 in terms of black level, although it can't match that panel for image brightness. But in a dim to dark room, the kind in which you'll want to watch any good TV to best appreciate its picture quality, the VT60 wins -- it gets plenty bright enough for most rooms, and that much darker. Colors are a little more vivid on the Panasonic, and flesh tones are healthier looking than the Samsung can muster.

Of the six TVs in our comparison lineup, it was really a two-horse race between the Panasonic VT60 and the Pioneer Elite Kuro 111FD. While the Pioneer did some things better, the Panasonic had a more impressive picture overall due to its slightly deeper black levels and better shadow detail. So in a way, despite the fact that it's the ZT60 Panasonic is touting as a Kuro-killer, the less expensive VT60 is actually the first TV we've tested to outperform our in-house Kuro.

Click the image at the right to see the picture settings used in the review and to read more about how this TV’s picture controls worked during calibration.


Black level: While the Kuro stood out in 2007, Panasonic has been slowly catching up every year, and this year has finally surpassed the black levels of the 50-inch Pioneer Elite PRO-111FD plasma we've kept as a reference ever since.

In a field of the best TVs we have ever seen in the CNET offices, the VT60 and the Pioneer Kuro were easily the darkest in the room. Watching dark scenes from "Harry Potter and the Deathly Hallows: Part 2," like the hillside as the camera flies by Voldemort's amassed army, both the Kuro and VT60 were able to bring out the individual faces on the combatants without sacrificing deep black in the shadowy areas of the valley below. Though they were neck and neck, the Panasonic had a little bit more shade -- particularly in black bars. The Sharp Elite and Samsung F8500 couldn't get quite as dark, while the VT50 and the others appeared a bit lighter still.

When surveying a dark room of full of piled-up furniture, the (Ch 14, 57:29) the VT50 and VT60 illuminated similar amounts of shadow detail, while the 60 had a touch more pop due to its deeper black levels. Compared to the Kuro the VT60 was able to illuminate just a little more detail while keeping black "black."

On a bright scene, such as the all-white "dream sequence" (Ch. 22), the Samsung's higher brightness on a full screen pays off, with a truer, more brilliant white than was available on any of the other TVs bar the LED-based Sharp Elite. The VT60 looked noticeably duller, and was about as bright as the VT50 in this scene. The older Kuro was able to get just a little brighter on this scene, due in part to its smaller 50-inch size. As a rule, the larger the plasma, the dimmer its picture gets.

During the end of my testing process our 60-inch ZT60 review sample arrived, and I couldn't pass up the opportunity. Based on early comparisons, before the ZT60 was aged the requisite 100+ hours, the two panels appeared very similar when both were set to THX Cinema mode. Black levels were almost identical, with the VT60 surprisingly having a slight edge. I'll reserve judgment until we can run our full suite of tests on the ZT60, including aging and calibration, but based on this initial look, the VT60 could turn out to be just as good as its "beyond the reference" brother.

Color accuracy: It shouldn't be surprising when comparing TVs this good, but I was still impressed by how similarly all of the seven TVs performed when it came to color, especially greens and blues. When presented with a rural scene from "The Tree of Life" (TToL) (Chapter 5) featuring skin tones, green grass, blue sky, and cyan clothing, all of the TVs got the colors dead-on. All, that is, except the Sharp Elite, which was completely unable to render the blue-greens of cyan and instead made them ice-blue.

Where the TVs differed were in skin tones, with the VT50, VT60, and Kuro sharing a very saturated look, while the F8500 had the least saturated skin tone of all the TVs. At no point though did the skin coloring of the VT60 veer into "feverish" or even "Tanning Mom" territory, and remained natural and pleasing.

Watching the earlier opening scenes of TToL's Creation (Ch 4) we were treated to some of the best reproductions we've seen yet, with amazing colors on black contrast and a minimum of color banding. Only compared to the Kuro did the VT60 suffer slightly, with a slight red tinge to the close-to-black screens, and it wasn't quite as talented with gradations showing some green fringing.

Switching to "Star Trek," and, for whatever reason, Panasonic plasmas always make the highlights of the "ninja pine cone" alien ship (Ch 4, 28:18) look brown, and it's the same with the VT60. The highlights are more neutral/black on the Samsung.

Video processing: The TV was able to smoothly render our test scene consisting of the Intrepid fly-by from "I Am Legend" without judder or breakup of the diagonal lines of flags when set to 96Hz. Choosing 60Hz for the 24p mode resulted in more judder during this scene while 48Hz displayed both flicker and more judder.

The Panasonic boasts a "3,000 Focused Field Drive," but as with other Panasonic plasmas, it only achieves the respectable 1,200 lines of full motion resolution of when you turn on one of the smoothing/dejudder modes. Without any of those modes on the VT60 still managed a respectable score of 700 lines.

The VT60 only passed the Film Resolution test when set to its "3:2 pull-down" mode is set to On; it failed to properly deinterlace 1080i film-based content in the default Auto mode. Funnily enough, even Off looked better than Auto on our test.

Bright lighting: In calibrated modes, The VT60 exhibited improved bright room performance (blacks) over the VT50 and much better than the Kuro, although much more reflective. In direct light the VT60 and F8500 performed very similar with grey blacks but at right angles to a light source the Samsung demonstrated deeper blacks and more vivid colors.

Using standard picture modes, the VT60 was able to get to a maximum brightness of 47.42 fL (Cinema with Panel brightness high) which is only a little better than our dark room setting. The Samsung F8500 in comparison was capable of almost twice that at 83 fL. In a bright room there was little contest in the TV's brightest modes: the Samsung looked much punchier and its less reflective filter meant that blacks were deeper and reflections more ably rejected.

Hockey or skiing, where much of the screen is occupied by white or very bright material, appears markedly brighter on the F8500 than on other plasmas this size, and other content is proportionately brighter too, depending on how much of the screen is occupied by white. Most content is more mixed between light and dark, however, making this F8500 advantage less important. It's also worth noting that most LEDs can maintain an even brighter image than the F8500 with near- or full-white content.

All of the plasmas aside from the Kuro were quite close in the depth of black levels; the VT50 was actually second-best at preserving black, followed by the VT60 and then the ST60 and E8000.

Sound quality The Panasonic VT60 had the best sound reproduction of our lineup -- the forward-facing speakers really helped. This was the only TV in our lineup that I'd actually listen to music on. All of the other TVs distorted the bass guitar in Nick Cave's "Red Right Hand," for example; the VT60 felt like it had a little too much bass, yet the treble and midrange were still clear. The Samsung F8500 had the worst sound in the lineup, with very distant, muddled audio.

If you want to listen to music, or get the most from movie soundtracks and don't want to buy a separate sound system, then the VT60 is the TV to get if you can afford it. It is one of the rare TVs in the last few years with forward-facing speakers, and the effects aren't subtle. Voices have more presence, actors no longer sound like they're perched behind the sofa, and music and sound effects have the requisite amount of punch and impact.

3D: Compared with the ST60, the VT60 is a far superior performer when it comes to 3D, especially in quick movement. During the opening chase scenes of "Hugo," the ST60 displayed plenty of motion artifacts -- the figures look like they're being viewed from behind a waterfall when moving -- but the VT60's motion was rock-solid.

The VT60 had relatively poorly detailed shadowy areas during 3D scenes -- but this is with the caveat that we don't calibrate for 3D playback, and just used the THX mode. The Samsung F8500 was able to deliver much better contrast and shadow detail. At the 9:54 mark, Hugo opens a large metal door, and on the F8500 you can see his face quite clearly, while on the VT60 he is in blue-black shadow. Increasing the brightness did improve things a little, but we were unable to equal the Samsung's shadow detail without washing out the scene altogether.

Crosstalk results between the F8500 and the VT60 were very similar, with some ghosting visible on Hugo's hand (4:44), but both saw a definite improvement on the VT50.


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Picture quality

Picture settings:
Samsung PN60F8500
The F8500 deserves a spot in the upper echelon of TVs you can buy, and in a bright room it's the best plasma I've ever seen. In moderate rooms, it doesn't quite match up to the picture quality of the like-priced Panasonic TC-PVT60 series, and while I'd say it's a superior performer to the ST60 by a nose, they both earn the same 9 rating in this section.

This plasma manages to combine exceedingly deep black levels with the potential for whites brighter than any other high-performance plasma available. Color accuracy is superb, if not quite reference level, and of course it exhibits the perfect off-angle and picture uniformity characteristics of the breed. Its video processing unfortunately requires you to make a choice between correct 1080p/24 film cadence and the deepest black levels, however, something you won't have to do with other TVs. One tertiary weakness is sound quality, while its 3D picture quality, aided again by superior light output, was outstanding.

Click the image at the right to see the picture settings used in the review and to read more about how this TV’s picture controls worked during calibration.


Black level: The F8500 can produce some of the deepest levels of black of any display I've seen, beating the depth of all but the very best plasmas and local dimming LEDs. In our lineup, which includes the best flat-panel TVs we have available (and, I'd argue, most of the best ever made), it looked just a shade lighter than only the VT60, the Kuro, and the Elite in most dark and mixed scenes. In the very dark "Drive" Blu-ray, for example, the depth of the F8500's letterbox bars and black areas like Driver's car stereo and leather gloves (4:12) was superb. Even sitting right between the Kuro and the VT60, the F8500 looked almost as deep -- and made the VT50, ST60, and especially the E8000 seem slightly grayish as opposed to inky black.

Unfortunately, you do have to trade away true film cadence if you want the absolute deepest black levels the F8500 can deliver. When I switched the Film Mode setting from Off to Cinema Smooth, those inky blacks got slightly brighter, reaching about the level of the ST60 and the VT50 (from 0.002 fL to 0.004, if you're counting). That's not much of a jump, so film cadence purists might not mind making it. On the other hand, of course, all of the other sets delivered correct cadence without sacrificing black levels.

Shadow detail was another strong suit for the F8500. As Irene grasps Driver's hand under the vacillating light (30:29), all of the folds in his pants and jacket, along with the shadows along the steering column and door, looked correct, neither too bright nor too dim, and every detail was preserved. That said, I'd still give a slight advantage in most scenes to the Panasonics, particularly the VT60, where certain shadow details appeared just a bit more distinct, especially in areas very close to black. The walls during the slow pan over Driver's room (37:20) or, even better, the very deep shadows and gasses in the Creation sequence from "Tree of Life" (23:48), again showed the Panasonics' slight advantage. In any case the difference was very subtle, and it was tough to pick a clear winner between the F8500 and the three Panasonics, even with the benefit of side-by-side comparison. It was easier to see the F8500's superiority to the E8000 in this area.

I watched a lot of Drive as well dark parts of other films, and I didn't notice any instances of abrupt changes in overall black level -- aka "brightness pops." I also checked out the two pops tests that created the artifact in 2011 Samsung plasmas, in "Bram Stoker's Dracula" and "Harry Potter and the Sorcerer's Stone," but the F8500 didn't show the issue there either.

A strange image retention artifact did occur on the F8500 that I've never seen before. When I paused the image or the shot lingered for long enough on a dark stationary element, purplish noise would begin to gradually accumulate in shadowy areas. It happened in the upper-right of the screen on the beige car interior (between 4:14 and 4:19), for example, and became quite obvious if I paused. It wasn't overly distracting, and disappeared nearly immediately when the image changed, but it's still unusual and potentially distracting in certain stationary shots with near-black material. I also saw it during calibration (see the picture settings above for details), but in any case this issue doesn't spoil my recommendation.

Color accuracy: The colors on the F8500 are superb. The rich saturation imparted by its deep black levels combined with very low measured error levels to create a palate that stands against the lineup extremely well. The only flaw was a spike in blue in the middle of the grayscale that adjustment couldn't tame, an issue that perhaps manifested in slightly cooler skin tones in areas like the face of Irene in the restaurant (46:54).

On the other hand, the F8500 came closer than the others to the E8000 which, according to our measurements, has the best overall color in the lineup. It's difficult to say which was "better" -- the warmer Panasonic VTs or the slightly cooler Samsungs -- but to my eye the Panasonics did appear a bit more pleasing and saturated. Regardless, the F8500 looked slightly more accurate than the ST60, and significantly more accurate than the Kuro and the Sharp Elite.

The measurement of the F8500's near-black (5 percent) was also among the best I've ever seen, leading to pleasingly neutral dark areas and shadows. Of course, most of the others were also extremely good in this area, but the F8500 was just a bit better.

Video processing: As I mentioned above, this area is the F8500's only major stumbling block. The only way to achieve the correct film cadence of 1080p/24 sources, like most Blu-ray movies, is to engage the Cinema Smooth setting under Film Mode -- which lightens black levels somewhat. When I did so, I saw the nice, smooth-but-not-too-smooth movement in areas like the swinging camera in the grocery store in "Drive" (15:30) and of course even more clearly in my traditional such test, the pan over the aircraft carrier from "I Am Legend" (24:58).

Switching back to Off, which delivers the deepest black levels, caused the cadence to assume the characteristic, slightly hitching motion of 2:3 pull-down. It's a subtle difference, but videophiles will have to choose between correct cadence and the deepest blacks. I chose the latter, for what it's worth.

The F8500 offers two levels of dejudder that introduce the characteristic Soap Opera Effect. Even the weakest, Standard, produced an exceedingly smooth image that won't appeal to those who dislike that effect. Unlike Panasonic's plasmas, however, engaging dejudder did not affect my motion resolution measurements.

As with previous Samsungs, the default Auto2 Film Mode setting for 1080i sources didn't result in proper deinterlacing; I had to switch to Auto 1 to get the PNF8500 to pass that test.

Bright lighting: The performance of the F8500 in high ambient light is better than any other plasma I've tested, and in this lineup is second only to the Sharp Elite LED. Its largest advantage over the other plasmas came in the form of prodigious light output.

Compared directly to the also-60-inch VT60, the F8500 almost doubled its maximum light output; I measured a peak of 83 fL (footlambert) in Dynamic mode on the Samsung, compared to 49 in Vivid mode on the Panasonic using window patterns.

The F8500 also maintains higher light output with full-screen patterns, measuring 19.1 fL compared to just 9.8 on the Panasonic. Hockey or skiing, where much of the screen is occupied by white or very bright material, appears markedly brighter on the F8500 than on other plasmas this size, and other content is proportionately brighter too, depending on how much of the screen is occupied by white. Most content is more mixed between light and dark, however, making this F8500 advantage less important. It's also worth noting that most LEDs can maintain an even brighter image than the F8500 with near- or full-white content.

Speaking of importance, here's the part where I remind readers that 40 fL, the amount to which I calibrate, is plenty for a moderately lit room. But if you have an extremely bright room or just prefer watching an extremely bright picture (like Vivid or Dynamic on your current TV), the F8500 comes closer to the light output of an LED TV than any plasma I've tested. Of course an LED can get even brighter; the 60-inch Elite, for example, can achieve a scorching 300 (window) and 133 (full-screen) fL in certain settings.

The F8500 has an excellent screen filter to go along with its light output potential. It preserved black levels under bright overhead lighting better than any TV in my lineup aside from the Sharp, keeping the image punchy instead of washed out. All of the plasmas aside from the Kuro were quite close in this regard; the VT50 was actually second-best at preserving black, followed by the VT60 and then the ST60 and E8000.

The ability to reduce reflections is also very important, and while none of these displays can match a matte-screened LED/LCD in that area, the F8500 was one of the best. Again, its least wasn't much, but reflections were a bit brighter on the VT60.

Sound quality The F8500 was the worst-sounding TV in the lineup. Its audio was thin, bass was distorted, and the instruments of Nick Cave's band from our test track were less distinct. Dialogue during "Mission: Impossible 3" was also relatively muddy, and Ving Rhames' deep voice sounded like it was coming from another room. The ensuing explosions had little visceral feel, and details like breaking glass were nigh inaudible. The great-sounding VT60, in particular, trounced it, but the VT50 and ST60 also sounded better, as did last year's E8000.

3D: The F8500 is probably the best 3D performer of any plasma TV I've tested. Its image quality in the default settings for Cinema mode was better than what I saw on the VT60, mainly due to superior light output and better shadow detail. The latter difference can be equalized in calibration, perhaps (we don't calibrate for 3D), but the former is a distinct advantage.

In terms of crosstalk, the F8500 performed as well or better than any of the other plasmas, but not at the same level as my 3D reference, the LED-based UN55ES8000 -- which I subbed into the lineup in place of the 2D-only Kuro. Crosstalk is a bugaboo of 3D TVs that use active 3D technology, and appears as a ghostly double-image around many onscreen objects. During my favorite crosstalk tests from "Hugo," including Hugo's hand as it reached for the mouse (5:01), the tuning pegs on the guitar (7:49), and the face of the dog as it watches the inspector slide by (9:24), the F8500's crosstalk was quite dim and unobjectionable -- about the same level as the ST60 and VT60, and better than the E8000.

The image of the Samsung F8500 had more punch and impact, however, because it got substantially brighter. No, it didn't reach the same level as the LED ES8000, but it was still visibly superior to any of the plasmas, particularly in brighter scenes. Details in shadows, like the bulkhead at the beginning of Chapter 2, were also more distinct on the F8500, although black levels were a bit deeper on the VT60. Color also seemed a bit better on the F8500, with more neutral shadows compared to the bluer Panasonics.



Panasonic's throw-in 3D glasses fit much better than Samsung's. The flimsy temples of the Samsung 5100GB's barely kept them secure on my head, especially when I wore my prescription glasses, and the design let in a substantial amount of light from the side. At least they were very light.

Power consumption: Light output is a major factor in how much juice a TV uses, so it stands to reason that the F8500 is more of a power hog in its brightest picture mode. Unlike other plasmas, its default picture mode, Standard, is quite bright (with the ambient light sensor disabled), clocking 82 fL and a correspondingly massive power drain. After calibration to a standard light level, however, it's right in line with what I'd expect from a 60-inch plasma.

The current Energy Star specification is still version 5.3, which still imposes a hard cap of 108 watts for any size of TV. According to Energy Star's April 2013 list of qualified TVs, no 1080p 2013 Samsung plasma earns the blue sticker, although its 43-inch 720p sets series do.

Editors' note: CNET has dropped TV power consumption testing for 60-inch or smaller LCD- and LED-based TVs because their power use, in terms of yearly cost, is negligible. We will continue to test the power use of larger LCD or LED models, as well as all plasma models.

polor

坐等下``````

wxy68181

坐等C****K砖家，反驳CNET。

友山

从画质角度看，VT60高出F8500一个层次，其它性能如何请看评测成绩列表》》》》》》》》》》》》》

AM0055

无论是VT60还是F8500，黑色更黑了。黑色细节，VT60更好。
F8500变成了最亮的PDP？适合明亮光线的房间观看？？？什么意思，越做越像液晶了？
F8500比较E8000改善了3D串扰。

此外 报告中多次出现的Pioneer Elite PRO-111FD是什么？

AM0055

友山 发表于 2013-5-8 14:41
从画质角度看，VT60高出F8500一个层次，其它性能如何请看评测成绩列表》》》》》》》》》》》》》

恩 参数看不太懂，但是评测内容中多次提到VT60比F8500要好。

友山

再贴AVF两款等离子电视的评测成绩》》》》》》》》

喜欢高清

关键在国内买不到这样品质型号的机器.只是看人家说　

友山

CNET、AVF的VT60和F8500评测成绩标尺已经标出，坐等索尼旗舰液晶X9000和W950的评测成绩。
同时也期待北美电商巨头VE 2013年度平板电视枪战结果出炉》》》》》》》》http://www.jd-bbs.com/thread-4703480-1-1.html

chncwk

F8500比VT60还贵？那还有救吗？难道要走小白屋线路？

gawa

我更关注这几款、有详细的测评吗

友山

gawa 发表于 2013-5-8 15:55
我更关注这几款、有详细的测评吗

无3D功能，画质性能得分9分还是不错的》》》》》》》》》

AM0055

gawa 发表于 2013-5-8 15:55
我更关注这几款、有详细的测评吗

http://reviews.cnet.com/flat-pan ... 2_7-35567256-2.html

wkz

英语不太好，只看到中间提到了F8500的3D效果是所有测试等离子中效果最好的。

chncwk

友山 发表于 2013-5-8 16:05
无3D功能，画质性能得分9分还是不错的》》》》》》》》》

ST50 和 E8000 的 Performance 得分多少？