When you're paying over two grand grand for a 55-inch TV, you'd like to think you're getting close to the best picture quality available. In the case of the Sony W900A, you are. The Samsung F8000 is slightly worse in terms of black level and color, but the two are very close (see that review for a full side-by-side comparison; the comparison below was written before we reviewed the Samsung). Neither one beats the best plasmas' pictures, but if you prefer LED LCD , the W900A is a great alternative.
The Sony's Triluminos system helps boost color performance, with hues that were the equal of the ST60 plasma. Of the LCDs we compared the W900A had the best colors, and the most saturated blues and skin tones in particular.
Despite local dimming, however, it isn't quite as good as last year's HX850 in the most important area: black levels. The W900's black areas were slightly lighter in some scenes, and the edges were prone to light leakage. Though gamma levels were more consistent from light to dark than the cheaper W802, it was a little more hesitant to show up shadow detail. Unsurprisingly, the fantastic Panasonic ST60 plasma was better in all areas, and at half the price of the Sony, too. Sure you can pay a lot extra for a picture that's almost as good as a plasma, but why should you?
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.
|Comparison models (details)|
|55-inch LED-based LCD|
|55-inch LED-based LCD|
|60-inch LED-based LCD|
|55-inch LED-based LCD|
|55-inch LED-based LCD|
|Panasonic TC-P55ST60||55-inch plasma|
Black level: Although very good for a LED LCD, the Sony W900A wasn't able to beat the HX850's superior black levels. It performed in the middle of the pack when replaying dark scenes, for example an 80's-era Manhattan skyline from "Watchmen." With its local dimming the Sony could dredge up solid levels of pure black depending on the scene, but both the Sony HX850 and Panasonic ST60 were able to beat it in terms of consistent black levels, while the ES8000 was very similar in depth of black overall.As the camera pulls out you can see west across the Empire State building, and the W900A was able to retrieve decent amounts of detail from the buildings, giving a sense of depth with very little crushing or overly green blacks. It was darker and less revealing than the ST60 and HX850, but looked noticeably better than the and trounced the Panasonic DT60, which looked flat and lifeless.
The final "Harry Potter and the Deathly Hallows" movie is punishing for LCD TVs in particular, as most scenes are extremely dark with shades of black. At the start of Chapter 12, the camera swings about a cluster of dimly lit figures on a hill, and then zeroes in on Good King Noselessness. The W900A exhibited fairly good detail amid the gloom and didn't turn shadows green as we've seen with some other televisions. However, I found that once again, the older Sony and Panasonic were both darker and better at digging up unseen detail.
Color accuracy: The W900A had the most saturated colors of the collected LCDs -- especially blue-- and this is likely due to the work of the Triluminous crystals. The W900's color looked very close to that of the Panasonic ST60, particularly in its portrayals of Dr. Manhattan in "Watchmen." The character has brilliant blue skin and he casts a purple-blue light on others around him, and the only TVs that could convey this without resorting to banding or missing subtle variations in color were the W900A and the ST60. Given this excellent performance, perhaps there is some merit to Sony's claims of Quantum Dots' efficacy.
Switching to the languid "The Tree of Life" and its kaleidoscopic palette, the Sony W900A was able to convey just as much information as the ST60 with a well saturated image. At the beginning of Chapter 5 (37:18) Mother is lounging on the grass and the W900A is able to capture the scene well with well-saturated greens. The cyan of her clothing doesn't stray into blue territory as it does on the HX850, and her fair skin tone is portrayed naturally without too much ruddiness.
Video processing: Both the W802 and W900A passed the "I Am Legend" test of the fly-by of an aircraft carrier, showing correct film cadence. There was a bit of halting judder when I looked very closely, but not enough to be considered a "fail."
However, in the synthetic 1080i playback test there was significant strobing in the moving image -- you may lose some very fine detail when replaying film-based 1080i sources. On the motion resolution test, the TV displayed 330 lines when I disabled the smoothing dejudder mode, and as usual engaging Motion Flow enabled the TV to go to 1000 lines. Unusually, the pattern displayed heavy artifacts between 350 and 400 lines. Otherwise the performance is what I expect from a 240Hz TV.
Uniformity: Compared directly against last year's HX850, the W900A does suffer some uniformity issues -- particularly with light leakage at the sides leading to a blue-black haze on a dark scene. However, it does perform better than all of the other LCDs in the lineup; random splodges appeared on the Sharp, Sony, and Panasonic LED televisions.
Off-axis performance of the Sony was much more impressive than the W800, with retained contrast and colors. The correspondingly wider viewing angle meant there is less of a sweet spot, so two or more people could watch this TV comfortably.
Remember how dead pixels were a thing a few years ago? Monitor companies such as Asus had obtuse dead policies where you could return a screen if it had stuck pixels in a certain percentile of the the screen. That all went away as LCD yields improved, but as of this TV I have seen my first stuck pixel in a mainstream television. On the lower right, the W900A had a red/green pixel on all the time and it was particularly noticeable on a black screen. As rare as this is, if this should happen to you, contact Sony.
Bright lighting: Of the two 2013 Sony TVs in the lineup, the W900A was the least reflective but it also had clearer reflections -- I could make out more details of my own face and so on. But less reflective is still better, and both TVs were less distracting than the very shiny DT60. Moving on, in a lit room blacks were black rather than blue, and uniformity wasn't an issue.
Sound quality The W900A has a very warm sound which is suited to dialogue and the THWACK! of action movies. Our "Mission: Impossible III" sound test was delivered clearly, but without the high-end tinkle of some of the other sets we've heard. We'd still say that if you want to watch movies and expect serious sound, get a separate speaker system.
Furthermore, I don't think there has ever been a time when you could buy a TV for music though there are certainly models that have tried -- the, , the -- but the Sony W900A is not the go-to here. While it has more of a midrange openness to it on our "Red Right Hand" test track, it is lacking in high-frequency presence compared with the HX850.
3D: Though the W802 and W900A come out of the same stable, they are the result of very different husbandry, and this is most evident when it comes to 3D playback. The W802 is a passive design, which in this case meant a brighter image overall at the expense of interlacing artifacts; meanwhile the W900A has an active design. It showed good 3D picture quality overall, but there were some issues.
Despite the added dimming effect of the shutter glasses, the opening scenes in "Hugo" were bright but still susceptible to blue blacks -- we don't calibrate these TVs specifically for 3D. Fast-forward to Hugo's hand against a darker back ground at 4 minutes, 44 seconds in and there were no traces of white-on-black crosstalk, but strangely Hugo's hand had become part of the desk, almost inverted. This artifact didn't occur on the ES8000 with his hand remaining solid, but there was a more significant amount of white crosstalk -- the Samsung's more solid images were preferable. Moving on, after the unsuccessful "heist," Hugo is chased through the train station and the W900's motion was relatively solid throughout -- some active 3D systems such as the ST60 can make action look blurry and inconsequential.
On the other hand, we did notice minor flicker when we turned off the MotionFlow processing; it disappeared when we engaged the processing, although as usual leaving it on also introduced smoothness. We preferred the Standard setting for 3D, which removed the flicker and kept smoothness relatively low.
Input lag: Unusually, the Sony would not display any signal from our lag tester, so we couldn't. Update: Subsequent attempts allowed us to finally take a measurement of input lag. It was excellent in Game mode (see below).
|GEEK BOX: Test||Result||Score|
|Black luminance (0%)||0.003||Good|
|Avg. gamma (10-100%)||2.22||Good|
|Avg. grayscale error (10-100%)||1.4||Good|
|Near-black error (5%)||0.706||Good|
|Dark gray error (20%)||1.998||Good|
|Bright gray error (70%)||1.623||Good|
|Avg. color error||1.68583333333333||Good|
|1080p/24 Cadence (IAL)||Pass||Good|
|1080i Deinterlacing (film)||Pass||Good|
|Motion resolution (max)||1000||Good|
|Motion resolution (dejudder off)||330||Poor|
|Input lag (Game mode)||19.7|