Picture settings: As befits a near-flagship TV, the VT60 offers an exhaustive number of picture controls, even more than the ST60. The primary addition is a pair of THX-certified modes, one for "Cinema" and one for "Bright Rooms." Advanced tweaks include a 10-point grayscale and 10-point gamma system as well as color management for the primary and secondary colors. The company has also added a cool "copy adjustments" option that allows you to migrate your picture settings from one input and/or mode to others.
Other controls include three levels of dejudder, aka, an unusual seven different aspect ratio settings, and the usual array of items to help prevent and treat image retention, including a pixel orbiter and scrolling white bar.
Connectivity: Disappointingly for such an expensive TV, the VT60 only includes three HDMI ports. If you have a cable box and more than two other HDMI devices (like a game console,
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 ever tested aside from the ZT60. That TV only outperformed the VT60 when we turned up the lights, however; in a demanding, dark-room environment, the two were basically identical.
(Editors' Note: A section below that compared the VT60 to a precalibration ZT60 has been removed due to the publication of the full ZT60 review. The remainder of this VT60 review below was written before we had tested the ZT60, so it doesn't refer to that TV. For a direct comparison between the two, check out our full review of the Panasonic TC-PZT60.)
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.
|Comparison models (details)|
|Panasonic TC-P65VT50||65-inch plasma|
|Panasonic TC-P55ST60||55-inch plasma|
|Samsung PN60E8000||60-inch plasma|
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 (Chapter 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" (Chapter 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.
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 (Chapter 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 (Chapter 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.
|Panasonic TC-P60VT60||Picture settings|
|Picture on (watts)||408.79|
|Picture on (watts/sq. inch)||0.27|
|Cost per year||$89.81|
|Score (considering size)||Poor|
|GEEK BOX: Test||Result||Score|
|Black luminance (0%)||0.002||Good|
|Avg. gamma (10-100%)||2.11||Good|
|Avg. grayscale error (10-100%)||1.9||Good|
|Near-black error (5%)||1.302||Good|
|Dark gray error (20%)||1.183||Good|
|Bright gray error (70%)||2.267||Good|
|Avg. color error||0.695||Good|
|1080p/24 Cadence (IAL)||Pass||Good|
|1080i De-interlacing (film)||Pass||Good|
|Motion resolution (max)||1200||Good|
|Motion resolution (dejudder off)||1200||Good|
|Input lag (Game mode)||47.9||Average|