JVC New Projectors Announced - CEDIA 2012 - Page 28 - AVS Forum
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post #811 of 1073 Old 10-02-2012, 12:48 PM
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Originally Posted by Holiday121 View Post

Well put.. I am going to go with a HP screen for sure but not sure how I should go about the frame.. If I get a a Perm wall I would only have like a half inch from the top of my ceiling and a half inch on the bottom before my subwoofer.. Do you thinkg it still would be ok or is that to close to the ceiling and sub

I've owned the HP 2.8 and the Carada BW screens. I had a 1.78 121" diag HP with contour frame in my old theater which has larger dimensions. I like the HP a lot, however I sold it with the house as part of the HT. When building a HT in my new house, I opted for a used 2.35:1 133" diag Carada BW screen that I found locally. It was the perfect size for my wall and the price was just too good to pass up. Since my throw is shorter, the Carada works fine even at only a true 1.1 gain. Using an A-lens helps too, using all the panel real estate. My PJ is only 15' back and near center. My front seating is close and the room is very dark, so I'm OK with brightness. However, I dumped my RS40 after too many lamp issues for a brighter Epson.

Could I use an HP screen? My take is that pretty much everyone (but Mark) could benefit from using one. However, I could not justify the extra money over my cost for the used Carada. I also figure that once lamps are a thing of the past, it won't matter as much either.

As for your worries about having your screen too close to the ceiling, etc., take a look at my theater pictures in my signature links. My screen basically takes up the entire front wall and is nearly touching the ceiling too. And my DefTech center is right below it on a stand too. It helps that my ceiling, walls, speakers, and carpet are very dark or black. I have virtually no reflection causing issues and since I'm sitting close, the screen basically fills my field of view anyway.

If you can afford the HP, go for it. If not, the BW is a good bargain.

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post #812 of 1073 Old 10-02-2012, 12:56 PM
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Originally Posted by AV Science Sales 5 View Post

preorder on the JVC's ends when the projectors start shipping. So expect that to be around the end of November. I am being told that will be strictly enforced this year.

My post was referring to model year, not pre-order time period. I consider the RS4810 to be a 2013 model since very few if any will get them delivered before Christmas based on past history with JVC, Avid, AVS, etc.

Anyway, it's good to know for those in the market for a JVC need to pre-order before December. I'm happy with my Epson and am waiting for a 4K PJ with no lamp. I hope to be seeing Red at some point in my future. biggrin.gif

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post #813 of 1073 Old 10-02-2012, 01:05 PM
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Originally Posted by Holiday121 View Post

Wasn't meant that way. More like explain to a noob "me" what it is

Ft-L is image brightness on a viewing surface, units are L/sq. ft. (L = lumens)
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Originally Posted by Manni01 View Post

Which solid info do you have, Noah, and where from (link)?
...
[EDIT: GaryB just replied on AV Forums http://www.avforums.com/forums/17726745-post41.html, the correct info for the x55/rs48/rs4810 is 1200 lumens. That's good to know]

Only what I read, which keeps changing.
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Originally Posted by mark haflich View Post

An extra 100 ANSI lumens is essentially irrelevant. Over a 1200 ANSI lumen machine, a 1300 Ansi Lumens machine would have 8 1/3 % more light. To your eyes, it will look only about 3% brighter.

Mark, where are you getting these numbers for perceived vs. objective brightness?

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post #814 of 1073 Old 10-02-2012, 01:18 PM
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Originally Posted by coderguy View Post

So far, there have always been people willing to pay a decent dollar for the low-end used JVC's comparatively speaking to the pre-order prices we get them at, they seem to hold their value better than other projectors (fair or not). Rs1's and RS2's often sell for far more than they are worth IMHO (well depends, but I personally would not spend what some people have sold those for). Better yet if you go with a B-Stock model from AVS you can pretty much nearly break even.
I don't think 4k will transition as quickly as 1080p did (Which IMHO was not quick enough), so it will be a very slow change is my guess (again just my guess). It is harder for "TV consumers" to see the benefits beyond the fact that TV's have too much pixel SDE, but most people are used to it, and TV consumers drive the standards somewhat. I don't think the market for 4k is going to be nearly as big as the change to 720p and 1080p, not unless Sony forces the standard upon consumers.

I used to believe that. I was able to trade up my JVC by selling during or right after CEDIA and then pre-ordering a next-gen JVC. Just needed a second projector or use my FR display to hold me over for the time without one. I actually made a little money one year. However, that was not the case with the RS40. The RS45 came in at a cheaper price than the RS40 cost to start and then the bad economy reduced the number of buyers IMHO. I ended up holding onto the RS40 since their wasn't much difference between it and the RS45. And after getting so disgusted with the lamp issues and poor 3D, when I tried to sell it, I lost more than what was normal for a used JVC. It didn't help that AVS was selling new B-stock RS40s for such a low price either and new ones could be found for a little more than what I got.

I got a decent price on a new Epson 6010 and with extra lamp and 3 year warranty, I will hold onto it until lamps are a thing of the past. That's about the same time as 4K are semi-affordable. Maybe a 2014 JVC? Who knows for sure, but hopefully Sony and Red will come out with something in 2013. I can wait.

I skipped the whole 720p phase, going to an early 1080p with a Sony Ruby. Talk about depreciation! frown.gifwink.gif

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post #815 of 1073 Old 10-02-2012, 05:27 PM
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Originally Posted by AV Science Sales 5 View Post

My information tells me they are two different wire grids.

Mike,

When you say "two different wire grids, "I assume you referring to the new wire grid polarizers in the RS56 and the RS66? I am making this assumption base on the fact that you (or was it Mark Haflich?) previously stated the RS48 / RS4810 do not have the new wire grid polarizers. Is that an accurate assumption?

Thanks.

Mark
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post #816 of 1073 Old 10-02-2012, 05:29 PM
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Originally Posted by Manni01 View Post

Just found this on the AV Forums preview thread, which seems to confirm the 1300 lumens theory, but I've asked GaryB for a confirmation as well:
"Next we move on to the new model in the range, the DLA-X55R. In basic terms this is a mid-range projector which shares the 50,000:1 contrast and 1,300 lumens specifications of the entry model, but also adds in the new e-shift2 4K scaling device, improved 3D playback (includes RF emitter and glasses) and a full suite of calibration controls including the same Colour Management System (CMS) as the higher end models"
The x55 is the rs48, so same as the rs4810 in this regard.

Does that mean it comes with the glasses and the emitter? I don't recall seeing that in the press release.

Thanks.

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post #817 of 1073 Old 10-02-2012, 06:01 PM
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Originally Posted by noah katz View Post

Ft-L is image brightness on a viewing surface, units are L/sq. ft. (L = lumens)
Only what I read, which keeps changing.
Mark, where are you getting these numbers for perceived vs. objective brightness?

I am being rough here and obviously we must talk about brightness per sq ft or at least some unit of area. But lets take for purposes of discussion , a screen of say 33 1/3 sq ft in area. Without considering screen gain, that gives us about 3 ft lamberts for every 100 ANSI lumens. So let's fire up that light canon and put out a blazing 100 ANSI Lumens and we get 3 ft lamberts. Pretty dim. So let's double those ANSI lumens. Now we get 6 ft lamberts. Quite a bit brighter but still dim. Let's go crazy and burn the bulb hot and get a blazing 400 ANSI out. Now we have 12 ft lamberts. To our eyes, the scientific literature says quadrupple the brightness for ones eyes to perceive it as being twice as bright.
4 times to double or the square root of the multiplier. Let's double those 400 ANSI and now use 800. Now we get 24 ft lamberts. Does it now look twice as bright? How much brighter? About the square root of 2 or 1.414, or 41.4% brighter. Let's increase it by another 400 ANSI. Now we get 36 ft lamberts for peak white. That full screen white 100 IRE frame. From the 800 ANSI, we now have increased the brightness increase to our eyes by a little more than 7%, the sq root of 49 being 7 exactly. Now let's add that 100 ANSI more of the cheaper JVC. 100 ANSI is 8.333 % of 1200. So even if you don't grasp or believe the sq root stuff, its only about 8% more light and if one believes the scientific literature, your eyes would perceive this as about a 3% increase in brightness. Increases to ones eyes depends on the starting base. If you have little light to start with, adding a little more helps a great deal. Going from 100 to 400, is a quadrupple increase and is to your eyes twice as bright. To do it again, you would need 1600 lumens Want it twice as bright to your eyes again, you would need 6400 lumens for our mythical screen.


Moah. I`ll let you google the quadruppling to one eyes bit to perceive twice as bright.

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post #818 of 1073 Old 10-02-2012, 09:00 PM
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Thank you. You just melted my brain by 8.333% (and I had very little to spare prior this read). eek.gif . tongue.gif



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post #819 of 1073 Old 10-02-2012, 11:10 PM
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After looking at pages of pages of movies it looks like most are widescreen now... errr
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post #820 of 1073 Old 10-03-2012, 12:44 AM
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Originally Posted by giomania View Post

Does that mean it comes with the glasses and the emitter? I don't recall seeing that in the press release.
Thanks.
Mark

Usually different for the UK and US. UK models initially come with emitter and glasses. US models don't. They aren't free though, as the price is higher in the UK.
Quote:
Originally Posted by mark haflich View Post

I am being rough here and obviously we must talk about brightness per sq ft or at least some unit of area. But lets take for purposes of discussion , a screen of say 33 1/3 sq ft in area. Without considering screen gain, that gives us about 3 ft lamberts for every 100 ANSI lumens. So let's fire up that light canon and put out a blazing 100 ANSI Lumens and we get 3 ft lamberts. Pretty dim. So let's double those ANSI lumens. Now we get 6 ft lamberts. Quite a bit brighter but still dim. Let's go crazy and burn the bulb hot and get a blazing 400 ANSI out. Now we have 12 ft lamberts. To our eyes, the scientific literature says quadrupple the brightness for ones eyes to perceive it as being twice as bright.
4 times to double or the square root of the multiplier. Let's double those 400 ANSI and now use 800. Now we get 24 ft lamberts. Does it now look twice as bright? How much brighter? About the square root of 2 or 1.414, or 41.4% brighter. Let's increase it by another 400 ANSI. Now we get 36 ft lamberts for peak white. That full screen white 100 IRE frame. From the 800 ANSI, we now have increased the brightness increase to our eyes by a little more than 7%, the sq root of 49 being 7 exactly. Now let's add that 100 ANSI more of the cheaper JVC. 100 ANSI is 8.333 % of 1200. So even if you don't grasp or believe the sq root stuff, its only about 8% more light and if one believes the scientific literature, your eyes would perceive this as about a 3% increase in brightness. Increases to ones eyes depends on the starting base. If you have little light to start with, adding a little more helps a great deal. Going from 100 to 400, is a quadrupple increase and is to your eyes twice as bright. To do it again, you would need 1600 lumens Want it twice as bright to your eyes again, you would need 6400 lumens for our mythical screen.
Moah. I`ll let you google the quadruppling to one eyes bit to perceive twice as bright.

I couldn't care less about 100 extra lumens in the specs. The only thing I know is:

1) if the two models (rs46 and rs48) have the same on/off specs (50000:1) but don't have the same lumens specs, it means that either the rs46 has higher black levels, or the rs48 has lower black levels. It would be silly to raise the black level of the rs46, so let's hope it's the second reason. Irrespective of the way they would lose these lumens (don't believe it's eshift 2, could be the CMS), as the rs48 doesn't have the dual iris or the new grid polariser, the way they achieve the same contrast with a lower max output has to be by changing the way the single iris is tuned (think "static dynamic iris").

2) Irrespective of the specs, the models with the higher lumens are usually significantly brighter in 3D (at least this was the case with the rs45/rs55). This used to mean less crosstalk. Many people don't care about 3D, but I do. The rs45 was also significantly brighter at D65/rec709. So I will take all the brightness I can, because it means more usable brightness and on/off as the lamp declines. With the new lamp - if it delivers all its promises - and the improvements in 3D, all this might change, but it's still a question mark at this stage which is why I'm trying to assess which light engine is in which model, rather than worrying for 100 lumens difference in the specs.

So this issue isn't only about knowing whether a model has x% more max light on a 100% white pattern in a unusable mode as per the specs. It is about knowing whether there is a point testing the rs48 (for me). If it gives me less usable on/off and less max brightness at D65/rec709 and in 3D than my rs45, I'm unlikely to consider it. If it gives me lower black levels and same or more brightness at D65/rec709 and in 3D, I'll welcome it warmly:). The same light engine as the rs46 with eshift2 made it immediately interesting to me, especially as eshift2 seems to reduce the 10-15% loss in ANSI contrast there was with eshift1. If it's not the same light engine, then it calls for closer scrutiny as far as I'm concerned.

I still suspect there is something wrong with the specs because it doesn't make sense. Usually you had to choose between more brightness and less on/off (rs45) and less brightness and more on/off (rs55). The rs48 sits between the rs46 and the rs56 in a way that is not clear at the moment as you get less brightness than the rs46 and less on/off than the rs56.

GaryB said he will double check.
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post #821 of 1073 Old 10-03-2012, 01:57 AM
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Your observation in essence saying that modest Ansi lumens increases mean significantly brigher 3D and less cross talk (depending on how the glasses shutters are timed) is consistent with my explanation.

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post #822 of 1073 Old 10-03-2012, 02:15 AM
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Quote:
Originally Posted by mark haflich View Post

Your observation in essence saying that modest Ansi lumens increases mean significantly brigher 3D and less cross talk (depending on how the glasses shutters are timed) is consistent with my explanation.

Hurray:)
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post #823 of 1073 Old 10-03-2012, 03:32 AM
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Originally Posted by Geof View Post

The new wire grid polarizers are responsible for the increased CR specs on this years models so it gives them marketing braggadocio. I'd suspect that the lower models use the same wire grids but fall into the low end of the production tolerances.

That's my expectation as well. The CR improvement is really just marketing to justify a new model, its way too insignificant to be visible. I really dont understand why people seem to think its noteworthy.
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post #824 of 1073 Old 10-03-2012, 03:35 AM
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Originally Posted by henrich3 View Post

Download the "High Power Screen Gain Calc" linked in post 566 of this HP thread to see how much gain an HP screen would provide in your room:
http://www.avsforum.com/t/1213577/da-lite-hi-power-new-or-old-what-did-you-get/560_40
The closer your eyes are to the light path, the higher the gain. Post 1 of the High Power thread provides a good overview of the material. (The posts in most of the thread refer to the original 2.8 gain material. The newer 2.4 gain fabric has similar characteristics however.):
http://www.avsforum.com/t/773065/high-power-a-review-part-1/0_40

Nice post, you saved me the trouble of finding it.
Most people end up with 1.4 to 1.8 gain in most mounting spots on the HP 2.4 screen (unless the PJ is within a couple feet of their head then it goes much higher due to less angle), but you get decent gain as long as an effort is made to mount the PJ low and sit in the horizontal middle, but if you lay down on a couch sometimes it drops to 1.2 to 1.4. I don't think the calculations are exactly accurate in this spreadsheet (entering certain values I think I can see an error), but it gives people a general idea anyhow.

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post #825 of 1073 Old 10-03-2012, 04:31 AM
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Quote:
Originally Posted by Owen View Post

Quote:
Originally Posted by Geof View Post

The new wire grid polarizers are responsible for the increased CR specs on this years models so it gives them marketing braggadocio. I'd suspect that the lower models use the same wire grids but fall into the low end of the production tolerances.

That's my expectation as well. The CR improvement is really just marketing to justify a new model, its way too insignificant to be visible. I really dont understand why people seem to think its noteworthy.

It's important because if you can use the higher models with the iris fully closed (or almost fully closed) in a bat cave (or at least a dedicated room with full light control and dark walls/ceiling/floor especially around the screen) you can target a higher gamma (say 2.4 over 2.2 or 2.3) which gives more depth to the picture without crushing blacks thanks to the higher on/off, on top of better absolute black levels, which does matter especially with darker pictures (sci-fi, thrillers, horror, etc). With brighter movies, it becomes more of a trade-off as even with the dual iris you lose some ANSI contrast as you close the iris to gain some on/off contrast. So it depends heavily on your set up, the kind of material you watch primarily and of course how deep your pockets are:).

You might not need the 90000:1 with the iris fully closed as the lamp is new/with a small screen, but if you have to open the iris as the lamp declines (or if you need more brightness as your screen is bigger) and can still get 50000:1 on/off therefore can keep a 2.4 gamma, the difference can be substantial. It's even more important in 3D where you usually need the iris to be fully open. Getting more on/off with the iris fully open also gives you more room to play with gamma in 3D, which is why you have to look carefully at the performance over the whole iris range, and not only with the iris fully closed (which is where the specs come from).

Whether this is important enough or whether you can justify/afford the difference in price is another story, but for some, especially those who do not mind replacing the bulb as needed, the higher models do give a better picture in 2D when installed/calibrated properly in the right environment.

So I don't believe it's only marketing, as long as you make sure it makes a difference in your environment, with the material you watch most frequently. The PJ is only one part of the equation. The room and the screen is as important if not more if you look at the performance of the whole. It's very easy to waste a higher model in a white living room, and you can get an amazing picture out of the lower models in the right environment, with the right tools.
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Are you seriously suggesting that ANYONE can see the difference in CR between the current model JVC's and the "new" models based on the quoted "improvement" in CR?
I would not pay $10 for that insignificant "improvement", but I would pay plenty for a 2D only projector with a 200% plus increase in native contrast, even if the lamps only last 500 hours.
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Originally Posted by giomania View Post

Mike,
When you say "two different wire grids, "I assume you referring to the new wire grid polarizers in the RS56 and the RS66? I am making this assumption base on the fact that you (or was it Mark Haflich?) previously stated the RS48 / RS4810 do not have the new wire grid polarizers. Is that an accurate assumption?
Thanks.
Mark

Correct, based on my earlier statement that the 48/4810 does not have the new wire grid.

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post #829 of 1073 Old 10-03-2012, 05:43 AM
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Quote:
Originally Posted by Owen View Post

That's my expectation as well. The CR improvement is really just marketing to justify a new model, its way too insignificant to be visible. I really dont understand why people seem to think its noteworthy.

10k of added contrast does not sound like much added onto an 80k contrast spec, but when comparing the 46/48/4810 to the 55 you are now looking at nearly double the contrast (50k to 90k) That kind of difference can be noticeable and it allows you to run a higher gamma.

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post #830 of 1073 Old 10-03-2012, 06:11 AM
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Speaking of contrast, Darby is pretty cool, increases perceived intrascene contrast.
If anyone is buying a JVC, I cannot see why someone would also not buy the Darby.

About 40% effect seems about right (somewhere around there, personal preference).


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post #831 of 1073 Old 10-03-2012, 06:44 AM
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Originally Posted by coderguy View Post

Speaking of contrast, Darby is pretty cool, increases perceived intrascene contrast.

If anyone is buying a JVC, I cannot see why someone would also not buy the Darby.

About 40% effect seems about right (somewhere around there, personal preference).

it works even better when combined with the e-shift process. I keep it at 30% with the MPC set @ 2. MI4 Ghost protocol looked excellent, but even great visuals can't make a bad movie good.. smile.gif
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post #832 of 1073 Old 10-03-2012, 07:04 AM
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Originally Posted by Manni01 View Post

Usually different for the UK and US. UK models initially come with emitter and glasses. US models don't. They aren't free though, as the price is higher in the UK.
I couldn't care less about 100 extra lumens in the specs. The only thing I know is:
1) if the two models (rs46 and rs48) have the same on/off specs (50000:1) but don't have the same lumens specs, it means that either the rs46 has higher black levels, or the rs48 has lower black levels. It would be silly to raise the black level of the rs46, so let's hope it's the second reason. Irrespective of the way they would lose these lumens (don't believe it's eshift 2, could be the CMS), as the rs48 doesn't have the dual iris or the new grid polariser, the way they achieve the same contrast with a lower max output has to be by changing the way the single iris is tuned (think "static dynamic iris").
2) Irrespective of the specs, the models with the higher lumens are usually significantly brighter in 3D (at least this was the case with the rs45/rs55). This used to mean less crosstalk. Many people don't care about 3D, but I do. The rs45 was also significantly brighter at D65/rec709. So I will take all the brightness I can, because it means more usable brightness and on/off as the lamp declines. With the new lamp - if it delivers all its promises - and the improvements in 3D, all this might change, but it's still a question mark at this stage which is why I'm trying to assess which light engine is in which model, rather than worrying for 100 lumens difference in the specs.
So this issue isn't only about knowing whether a model has x% more max light on a 100% white pattern in a unusable mode as per the specs. It is about knowing whether there is a point testing the rs48 (for me). If it gives me less usable on/off and less max brightness at D65/rec709 and in 3D than my rs45, I'm unlikely to consider it. If it gives me lower black levels and same or more brightness at D65/rec709 and in 3D, I'll welcome it warmly:). The same light engine as the rs46 with eshift2 made it immediately interesting to me, especially as eshift2 seems to reduce the 10-15% loss in ANSI contrast there was with eshift1. If it's not the same light engine, then it calls for closer scrutiny as far as I'm concerned.
I still suspect there is something wrong with the specs because it doesn't make sense. Usually you had to choose between more brightness and less on/off (rs45) and less brightness and more on/off (rs55). The rs48 sits between the rs46 and the rs56 in a way that is not clear at the moment as you get less brightness than the rs46 and less on/off than the rs56.
GaryB said he will double check.


Manni - Why wouldn't you think the e-shift glass could have something to do with a marginal loss of lumens? I would think that could be a plausible explanation between the two.

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post #833 of 1073 Old 10-03-2012, 07:07 AM
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10k of added contrast does not sound like much added onto an 80k contrast spec, but when comparing the 46/48/4810 to the 55 you are now looking at nearly double the contrast (50k to 90k) That kind of difference can be noticeable and it allows you to run a higher gamma.

Come on, model for model there is effectively no difference between the current and the "new" models, anyone who thinks there is is deluding them selves.
I'm looking for an improvement that matters, 200% MINIMUM.
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post #834 of 1073 Old 10-03-2012, 07:29 AM
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I`ll let you google the quadruppling to one eyes bit to perceive twice as bright.

For a minute I was afraid you wouldn't get to my question smile.gif

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post #835 of 1073 Old 10-03-2012, 07:37 AM
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Originally Posted by krichter1 View Post

Manni - Why wouldn't you think the e-shift glass could have something to do with a marginal loss of lumens? I would think that could be a plausible explanation between the two.

...and you might be entirely right:)
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post #836 of 1073 Old 10-03-2012, 08:08 AM
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For a minute I was afraid you wouldn't get to my question smile.gif


Sort of like the young lady singing "Someday my prince will come." Do you still want me to provide two cites? smile.gif

You might want to briefly read about the Weber-Fechner law and the Steven's power law. But this subject depends on a variety of factors and often even a quadruppling of lumens will not be perceived as even being as little as twice as bright.

Unless one has really low ft lamberts on the screen as most do for 3D, adding a small increment of lumens (100 ANSI say) really gets you nothing in seeing a brighter image.

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post #837 of 1073 Old 10-03-2012, 09:23 AM
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Originally Posted by Owen View Post

Come on, model for model there is effectively no difference between the current and the "new" models, anyone who thinks there is is deluding them selves.
I'm looking for an improvement that matters, 200% MINIMUM.

The new lamp and power supply is nice.

The difference in contrast has some minimal benefit but maybe more if tolerances favor some unit, and e-shift 2 + Darby should be nice if you sit close enough.
Do we even really know the on/off tolerances, like how can we be sure MOST RS-45's are even 50,000:1 (or RS-46's), mine seemed close but I had to use estimated method since I don't have a $10,000 light meter. For all we know 3% of all JVC users are getting DLP black levels and 2000:1 on/off and they don't know any better because they never owned another PJ (ok probably not, but for all we know theoretically).

You could (in theory) get an RS-46 with only 25,000:1 Native On/Off and an RS-56 with 105,000:1 (again unlikely, but theoretically).
That said, I don't believe that will happen (with a big emphasis on QUALIFYING everything I say before someone says I'm a loon job).

If the people mastering this stuff were really that good and the Gamma reference was perfect (or just the color highlights), then we probably wouldn't need the Darby (at least not as much).
They leave a lot of questionable milkiness in the contrast in a lot of movies where they could have easily fixed it. The Blind Director's Intent (I know), hey I'm all about Director's Intent to some point of purism, but at some other points I'm like no thanks.


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post #838 of 1073 Old 10-03-2012, 09:37 AM
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Originally Posted by Owen View Post

Come on, model for model there is effectively no difference between the current and the "new" models, anyone who thinks there is is deluding them selves.
I'm looking for an improvement that matters, 200% MINIMUM.

I was not comparing RS55 to RS56. I was talking about the increased difference between the 50,000 to 1 of the lower models and the 90,000 to 1 of the RS56. Now we are getting very close to doubling the contrast. That can make a difference and as Mark and I pointed out above, especially so if you are wanting to run a higher gamma.

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post #839 of 1073 Old 10-03-2012, 09:41 AM
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Especially so if you are wanting to run a higher gamma.

I can't really argue with you guys on this because I have never calibrated an RS-45 next to an RS-55 or RS-65 and compared them after doing the gamma (which IMHO is a 5-10 movie job in comparisons, or maybe 20-40 hours of work). My preliminary (unarguable) opinion is that it shouldn't really be the deciding factor at gamma (but you have to pick a cut-off point so I can respect that). However, the cut-off point of when to do one gamma or another probably has some wiggle room.

One day I may test this if I get a chance to, but GAMMA is one area even many Pro's cannot really completely agree on. There was a really good discussion about this somewhere in the forum with some very qualified people explaining every detail of the gamma process, but I don't remember where the post was (somewhere around here).


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post #840 of 1073 Old 10-03-2012, 09:59 AM
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