3D TV shoot-out: Samsung's LCD vs. Panasonic's plasma

As you might know from our previous blogs, we've been testing the first new 3D TVs on the market—Samsung's 46-inch 7000- and 8000-series LCD TVs with LED backlights and 240Hz technology, and Panasonic's 50-inch VT-20 series 1080p plasma. We bought the Samsung 7000-series set at retail, and purchased the 8000-series model and Panasonic's plasma as pre-retail samples directly from the company.

For the purposes of our tests, we connected the TVs to each company's new 3D Blu-ray player, and then switched them to see if the Samsung Blu-ray would work on the Panasonic TV, and vice versa. (They did.) While the Monsters vs. Aliens 3D Blu-ray disc played on both players—as it should per the Blu-ray 3D specification—the 3D demo disc from Panasonic, which includes clips from the Astro Boy movie, plus some sports and nature live sequences, would only play on the Panasonic Blu-ray player.

While we haven't completed our comprehensive tests on these sets, we have already seen some performance differences between the models, which in the 3D mode are mirroring some of the differences we see when we test LCD and plasma TVs with regular high-definition programs.

So how did the TVs perform? As we've reported, when displaying 3D all three sets delivered impressive three-dimensional effects in full 1080p resolution. All were were able to provide a reasonably bright picture, which is advantageous when using 3D shutter glasses, which can make images appear dim.

Overall the Samsung sets provided excellent picture detail, with satisfying colors and contrast. But we did notice some cloudiness on both the 7000-series model—which uses a conventional edge LED backlight—and the 8000-series set—the first set we've seen that uses an edge LED backlight with local dimming—which can be distracting when viewing dark scenes. Also, both Samsung sets exhibited a degree of "crosstalk," or ghosted images, on 3D content, indicating that the images for each eye weren't being kept completely separate. It wasn't so noticeable as to be distracting on all scenes, but when visible the image echoes diminished the 3D effect. We also noticed that if you tilted the 3D glasses, such as you would if you were lying down watching the TV, the picture would increasingly get dimmer.

Panasonic says its VT20 sets (as well as the VT25 models that will arrive soon) have new features designed to help boost performance. One is its "infinite black" technology, intended to improve black-level performance. In fact, this TV's black levels were excellent, the best we've seen from a TV since our review of Pioneer's Kuro models. We also found picture detail to be excellent. Unusual for a plasma set is the inclusion of blur-reduction circuitry, which was extremely effective. Based on our preliminary tests, this TV may have the best anti-blur performance of any plasma we've ever tested (although we wonder why it's a feature that has to be activated).

When viewing 3D content, the TV was absolutely free from crosstalk, with sharp, clean edges on objects in scenes. Also, the set's virtually unlimited viewing angle with regular high-def programs held true with the 3D content we played, so even those viewing the screen from an angle could see a great picture. Also, there was no change in the picture if the 3D glasses were tilted sideways, unlike the LCD sets.

So what's our initial reaction to these sets? All the tested sets can produce compelling, realistic three-dimensional images that can duplicate the excitement you'd get in a movie theater. But based on our preliminary tests, we give the Panasonic the edge. In the 3D mode, its lack of crosstalk and great black levels really made three-dimensional images pop. It also didn't have any issues with backlight cloudiness, and offered a very wide viewing angle. But remember that we haven't completed our final tests, and haven't seen enough 3D sets to make any judgments about whether plasma or LCD is inherently a better technology for displaying 3D. But we can't wait to get more sets into our TV Lab.

—James K. Willcox and Claudio Ciacci