Question about Mitsubishi WS-55809 55" Rear Projection Television

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Green shadows surrounding bright whites

My Mitsubishi WS-55809 has green shadows around images that are bright white.

  • This is especially true if the slider bar for contrast is set more than 25% up (left).
  • When running standard convergence, a green shadow is always present
  • When running advanced convergence, no shadows are present
  • The menu text is very blury when contrast is up
  • Also, whenever the system is reset to deault settings the contrast automaticall is set to 100% - far right.

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Last point first.....contrast max default is normal.....
Next, I would adjust green screen and green focus = see if they
are working normally,if not then G2 / Focus block may be bad...
after that, I would suspect green CRT.........................T.

Posted on Dec 10, 2007

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Finally a consumer that gives us plenty of info :)
sounds like an overdriven green tube, the only thing you can try is to find the G2/Focus block assembly, either behind front speaker grill or remove back of set and look for a black box approximately 5"X5" , this box will have 6 philips type adjustment screws(plastic) 3 are for focus, do NOT adjust these,
the other 3 are marked "screen" the center screen adjustment screw is for green, turn it VERY slowly counterclockwise while the set is running and pray that your problem dis-appears, be advised that this is a HIGH VOLTAGE device so one hand in your back pocket the other hand turns the screwdriver, if the problem does not go away you have a poor green tube, good luck, sorry I can`t give you the exact location of the G2/Focus block, manufacturers move them to different places every year.

Posted on Nov 29, 2007

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1 Answer

White shadows


Usually it is normal but if contrast set way too high that can also cause it.

set bright at about 70% and contrast a bit lower.,

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Ws 55809 with a 2,1 error code. machine has been flickering green screen more frequenly. not you turn it on get white screen then it shuts off. is this nachine repairable? please help.


2,1 IS x-ray protection, problem is either in the High Voltage circuit or with one of the three picture tubes.

It should be repairable but most likely a shop job.

SD TECH

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In the past few day i've noticed the picture is


BRIGHTNESS. Your owner's manual probably says that the brightness setting is used to control "brightness" or "picture intensity" or something other fuzzy non-descript term. The truth is that brightness is used to set the BLACK level in the picture.
On most TVs and projectors in use today, brightness is set too high. That's because people think "a bright picture is good, so I will set it as bright as I can get." Well, that's nice in theory, but entirely wrong in practice. Setting the brightness level too high makes a black tuxedo look gray rather than black. It muddies up the shadow areas, and reduces the overall snap and crispness that the picture would have if properly calibrated.
To find the right setting for brightness, go to the image in your movie that has textured blacks and hopefully some shadow/low light areas in which there is detail. Then freeze on that frame. As you move the brightness control down, the intensity of the blacks will increase, and shadows will get darker. As you move the control all the way to zero, you will (hopefully) see that the low light shadow areas will also go to solid black and lose their detail.
The optimum setting for brightness is achieved at just the point where true black objects appear as black as your system will make them while retaining as much visible detail in the shadow areas. Above this point the blacks appear to go grayer. Below this point you lose detail in the shadows. On many video systems, this optimum point is toward the lower end of the brightness scale. But find the point that looks correct to you regardless of where it is on the scale.
CONTRAST. The contrast control is similarly confusing. It is also often set too high on the theory that contrast is good, and therefore we might as well get the most we can out of our set by turning it all the way up. In fact, the contrast setting is used to control the intensity of the brightest highlights in the picture, so it is (oddly enough) the opposite of brightness control.
First, find your test scene in which you find textured whites in bright light, and freeze that frame. You are looking for the brightest elements in the picture in which you want to retain visible detail.
Let's assume you have a whitewashed fence in sunlight. If you start with the contrast set low, the fence will appear light gray rather than white. As you move the contrast control up, the fence will get whiter. Eventually details in the texture of the fence will begin to disappear.
If you continue to push contrast past the optimum point, the wood-grain texture of the fence will go solid white and all visible detail will be obliterated. Push contrast up even a little further, and our fenceposts might actually appear to expand very slightly due to a glow around the edges. This phenomenon, called "blooming" is a definite sign that your contrast setting is overcooking the image (and maybe your picture tube as well—don't ever leave the contrast control set this high!!!)
Find the point at which whites look white while retaining as much texture detail as possible. This is your optimum contrast setting. On most video systems, this setting is toward the higher end of the scale, but it can be anywhere. Find the point that looks correct to you. (By the way, unlike TV's, digital projectors will not bloom)
Now…note the following: brightness and contrast can be to some degree interactive. Your new contrast setting may have affected your brightness. So return to the brightness scene and verify that your blacks are still black, and you still have maximum detail in the shadows. Adjust it if necessary, then return and adjust the contrast setting once again if necessary. (You can see that this is much easier if the black and white elements you are testing all appear in the same image!)
COLOR. The color control on your set determines the level of color intensity in the image. One of the most common errors people make in calibrating their video systems is overdriving the color. That's what makes Larry King look reddish-orange on the TV at the gym. Overdriving color is common because once again, people naturally think, "I want to get as much color as I can out of this color TV, so I will crank it up some to make sure I get the most out of it!" No. Bad mistake.
If you move the color setting down to zero you will notice that your picture will turn into a black and white image. The optimum setting for color is achieved by increasing the setting just to the point where colors look natural and not a bit more! Flesh tones should look natural and without any hint of an unnatural glow. Grass should look naturally green rather than screaming spray-paint green.
When adjusting color, make sure that your test image has relatively unsaturated colors. Flesh tones or natural landscapes are ideal. It is impossible to set color properly if you are using a brilliant red Ferrari as your test subject.
On the large majority of video systems, the optimum setting for color is somewhere near the middle of the scale. However, trust your eyes for the optimum setting and think "what looks like the most natural, accurate reproduction of reality?" Any overdriving of color will make the image look artificial.
TINT or HUE. The tint control adjusts color balance rather than color intensity. It is an easy control to set properly, but for some reason many people don't get it right. When flesh tones look either too green or too magenta, a phenomenon you see with amazing frequency, it is because the tint control is not set properly.
Find a human face and freeze-frame it. (In choosing your test subject, note that lighter skin tones will show errors in tint more readily than darker skin tones). As you move the tint control to one end of the spectrum, the face turns green; as you move it to the other extreme, the face turns magenta (red+blue).
The correct setting for tint is the point near the middle of the scale at which you can detect no hint of either green or magenta. It is the most neutral point between the two extremes. The flesh tone looks the most natural at this point.
SHARPNESS or DETAIL. The final setting is sharpness or detail. Now, pray tell, who in their right mind wouldn't want the sharpest, most detailed picture they could get? And since there is a control that lets you turn it up, why not turn it up? That's what many folks do, and of course it's exactly the wrong thing to do.
The sharpness control adds processed information to the picture that is NOT part of the original video signal. It adds artificially highlighted edges, and makes the picture look less natural than it otherwise would. This is most evident along the continuous edge of a dark object against a middle-toned background. When sharpness is overdriven the dark edge will be outlined by a white ringing effect that increases contrast just along the edge of your dark object. That edge "highlighting" effect is created by the sharpness control. It is an artificial manipulation of the image. It wasn't in the original scene, and it shouldn't be on your screen either.
On most televisions, the optimum setting for sharpness is zero. On many digital projectors, the optimum setting is either in the low or middle part of the scale. Picture tube televisions and digital projectors behave differently in this regard; on a digital projector it is often possible to fuzz the image by setting sharpness too low.
Now look at your picture with the sharpness turned down or off depending on what works best on your system. You will see a smoother, more natural image. It might take some getting used to, since you may be accustomed to viewing video with all the artificial edge enhancements that create the illusion of added sharpness.
However, when the interference and noise from the artificial sharpness enhancer is removed, you are seeing the most genuine reproduction of the video signal that your projector or TV is capable of. And if you view it for a while, you will gain an appreciation for just how smooth, natural, and satisfying the picture can really look.

Dec 12, 2009 | Sony Grand WEGA KDF-55XS955 55" Rear...

1 Answer

My Mitsubishi HD 1080 Model WS-55809 - the colors are distored. The picture is like double vision. For example the menu words all have yellow & red shadows.


Ur convergence it dead.U know how to solders?Buy a convergence kit.These websites have the kit.Tv repair World.com,Tv repair kits.

Dec 12, 2009 | Mitsubishi WS-55809 55" Rear Projection...

1 Answer

Mitsubishi ws-55809 goes to white foggy screen occasionally


It will cost between 30.00 - 70.00 dollars to do it yourself depending on if you buy the parts seperate or as kit.

You can see some examples and find a fix here...

http://www.fixya.com/support/r2861467-solution_video_looking_whiteish_dull

Sep 25, 2009 | Mitsubishi WS-55809 55" Rear Projection...

1 Answer

Mitsubishi WS-55809 Shadow


check the "close caption" option on the menu should be of

Oct 14, 2008 | Mitsubishi WS-55809 55" Rear Projection...

1 Answer

Green shadow on white objects Mitsubishi WS - 55857 The right edge of white objects have a green shadow that gets larger as the camera pans away. I've adjusted convergence and turned off...


Its been a long time since I did it, but I believe you can adjust the green convergence grid by using the service menu. I found instructions on doing this over on the avsforum message board (years ago) so you might want to search there.

Aug 03, 2008 | Mitsubishi WS-55805 55" Rear Projection...

1 Answer

Mitsubishi WS-55809


can you post a picture of what the picture looks like? If so I should be able to diagnose the problem

Apr 30, 2008 | Mitsubishi WS-55809 55" Rear Projection...

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