Official Owners' Thread, Panasonic PT-AE8000U (US version) PT-AT6000E (European version) - Page 168 - AVS Forum | Home Theater Discussions And Reviews
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post #5011 of 5034 Old 01-25-2016, 03:43 PM
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Quote:
Originally Posted by ellisr63 View Post
I am using the Panamorph UH-480, and the only downside is having a little pincushion, and having to switch from 16x9 to v-fit (in the aspect area of the projector). .

If I am understanding you correctly, when you watch 1.78 material, you don't move the anamorphic lens out of the light path via a manual swing or robotic slide assembly such as this:


but instead, you activate the Panasonic's V-fit feature. Right?

In A/V reproduction accuracy, there is no concept of "accounting for taste". As art consumers we don't "pick" the level of bass, or the tint of a scene's sky, any more than we pick the ending of a book. "High fidelity" means "high truthfulness" , faithful to the original artist's work: an unmodified, neutral, accurate copy (or "reproduction") of the original with, ideally, no discernable adulterations: aka "transparency".
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post #5012 of 5034 Old 01-25-2016, 04:12 PM
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Cih

Has anyone used a camera anamorphic lens to achieve CIH. I have seen some of these lens with a fixed mount that can be placed in front of a projector.

Thanks,

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post #5013 of 5034 Old 01-25-2016, 06:55 PM
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Originally Posted by CDP View Post
Thanks deano86,
Any difference in size with the panasonic 3D glasses between large and Medium when wearing them with perscription glasses. which are more comfortable Large or Medium?

Thanks,
CDP
The medium glasses are designed so that they will fit comfortably over most all eyeglasses...I use mine with no problem this way... From what I have heard, there is no difference in the size of the actual lenses area between the sizes... just the width of the front frame to easier fit larger circumference heads! If you have children watching 3d, the Small sizes definitely work much better for them...

I was interested in finding some Large size 3rd gen glasses, just on the thought that the lens areas would be bigger, but from the info I got from a seller several months back, he stated that they are identical in this dimension...
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post #5014 of 5034 Old 01-25-2016, 07:17 PM
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Originally Posted by m. zillch View Post
If I am understanding you correctly, when you watch 1.78 material, you don't move the anamorphic lens out of the light path via a manual swing or robotic slide assembly such as this:
https://www.youtube.com/watch?v=JWdZk0M_ltw


but instead, you activate the Panasonic's V-fit feature. Right?
I only watch 16x9 or wider videos...so yes with qualifications. When I watch a 16x9 video I switch it to 16x9, and when i watch a wider video I switch it to V-Fit. I leave the lens in place at all times even though it makes the people look a little bit fatter than they are...to me it is an acceptable way to go as i was able to fully utilize the screen width.

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post #5015 of 5034 Old 01-25-2016, 07:54 PM
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Quote:
Originally Posted by ellisr63 View Post
I leave the lens in place at all times even though it makes the people look a little bit fatter than they are.
This boggles my mind since simply removing the anamorphic lens from the light path entirely would make all 16x9 (1.78:1) material look normal and correct. Why not do that or build/buy a robotic device to do it for you like shown in that video I linked to?


By using V-fit you also have lost the top and bottom of the incoming image, i.e. normal TV broadcast and movies which are 16x9 have their top and bottom chopped off.

In A/V reproduction accuracy, there is no concept of "accounting for taste". As art consumers we don't "pick" the level of bass, or the tint of a scene's sky, any more than we pick the ending of a book. "High fidelity" means "high truthfulness" , faithful to the original artist's work: an unmodified, neutral, accurate copy (or "reproduction") of the original with, ideally, no discernable adulterations: aka "transparency".
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post #5016 of 5034 Old 01-25-2016, 09:04 PM
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Originally Posted by m. zillch View Post
This boggles my mind since simply removing the anamorphic lens from the light path entirely would make all 16x9 (1.78:1) material look normal and correct. Why not do that or build/buy a robotic device to do it for you like shown in that video I linked to?


By using V-fit you also have lost the top and bottom of the incoming image, i.e. normal TV broadcast and movies which are 16x9 have their top and bottom chopped off.
I think your are misunderstanding what I am doing. When watching a 16x9 image I am using the setting 16x9...if it is chopping off any image at all it is minimal (akin to overscan that all TVs do). V-fit is only used for wider aspects than 16x9... When I use V-fit for wide aspect movies it is not cutting off any of the picture(it is actually stretching the image top to bottom), but would def cut off the top and bottom of a 16x9 image if i didn't switch the aspect to 16x9 on the Panny.

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post #5017 of 5034 Old 01-25-2016, 10:35 PM
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Quote:
Originally Posted by ellisr63 View Post
When watching a 16x9 image I am using the setting 16x9
If you don't electronically scale the image through an outboard scaler, nor use the Panasonic's own rudimentary circuitry, and view native 16x9 content through the anamorphic lens which you personally don't ever move out of the projection path, then when watching 16x9 content such as, let's say, the TV broadcast Late Night with Seth Meyers, the image looks roughly like this first image instead of the second image. [Ignore the boundaries and my camera's cropped image, just look at Mr. Meyers himself]
You described this earlier as people looking a little bit fatter:
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Originally Posted by ellisr63 View Post
When I watch a 16x9 video I switch it to 16x9... I leave the lens in place at all times even though it makes the people look a little bit fatter than they are...to me it is an acceptable way to go as i was able to fully utilize the screen width.
Did I get this right, this time?
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In A/V reproduction accuracy, there is no concept of "accounting for taste". As art consumers we don't "pick" the level of bass, or the tint of a scene's sky, any more than we pick the ending of a book. "High fidelity" means "high truthfulness" , faithful to the original artist's work: an unmodified, neutral, accurate copy (or "reproduction") of the original with, ideally, no discernable adulterations: aka "transparency".

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post #5018 of 5034 Old 01-26-2016, 03:57 PM
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Quote:
Originally Posted by m. zillch View Post
If you don't electronically scale the image through an outboard scaler, nor use the Panasonic's own rudimentary circuitry, and view native 16x9 content through the anamorphic lens which you personally don't ever move out of the projection path, then when watching 16x9 content such as, let's say, the TV broadcast Late Night with Seth Meyers, the image looks roughly like this first image instead of the second image. [Ignore the boundaries and my camera's cropped image, just look at Mr. Meyers himself]
You described this earlier as people looking a little bit fatter:

Did I get this right, this time?
Yup, except it appears in your picture that side info is missing, but there is no side info missing. I have verified this with my windows desktop.

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post #5019 of 5034 Old 01-26-2016, 04:20 PM
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Originally Posted by ellisr63 View Post
Yup, except it appears in your picture that side info is missing, but there is no side info missing. I have verified this with my windows desktop.

As I mentioned:
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Originally Posted by m. zillch View Post
[Ignore the boundaries and my camera's cropped image, just look at Mr. Meyers himself]
---

Would I be correct in guessing that this particular approach you personally use for watching 16x9 material (with the anamorphic lens still in place) is unique to your use and is not generally suggested by any third party source as a viable option, that you can link me to?
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In A/V reproduction accuracy, there is no concept of "accounting for taste". As art consumers we don't "pick" the level of bass, or the tint of a scene's sky, any more than we pick the ending of a book. "High fidelity" means "high truthfulness" , faithful to the original artist's work: an unmodified, neutral, accurate copy (or "reproduction") of the original with, ideally, no discernable adulterations: aka "transparency".

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post #5020 of 5034 Old 01-26-2016, 04:42 PM
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Quote:
Originally Posted by m. zillch View Post
As I mentioned:

---

Would I be correct in guessing that this particular approach you personally use for watching 16x9 material (with the anamorphic lens still in place) is unique to your use and is not generally suggested by any third party source as a viable option, that you can link me to?
I have seen others on AVS also that leave the lens in place at all times too. I don't have links, but I found them when I was looking into getting the lens...so I really don't know if this is a normal practice or not, but it works for me, and apparently others too.

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post #5021 of 5034 Old 01-28-2016, 06:53 PM
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Anyone change their settings, or have a specific settings for when watching sports? I was watching the playoffs this past Sunday, and was pretty unhappy with how football looks. When players are standing still, image looked good, but on movement everything gets blurred together and loses detail. I tried messing with the different settings; picture mode, frame creation etc., but picture still sucked.


I have AT&T Uverse, so is it just bad source? It's also set up in the man cave in the garage, so it's a wireless uverse box that's actually connected thru powerline network. I haven't calibrated or tweaked the picture settings before, as I've liked Cinema2 setting right out the box. I primarily watch Blu-ray movies and those look awesome.


If anyone has some picture settings they use for football and can post them I'll try them out. Thanks

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post #5022 of 5034 Old 01-28-2016, 07:13 PM
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A casual search found many complaints of Uverse using too much compression. This is easiest to see with giant, 1080p TVs like ours and people with smaller TVs might not even notice it. Sending the signal wirelessly to other rooms adds yet even more compression adding insult to injury!


The real test is to find some high quality TV show on a channel you can watch both over the air, OTA, and through Uverse. The Tonight Show might be a good example. Switch back and forth. If Uverse looks yucky yet live OTA on the same show/channel looks fine, then there's your proof right there.
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In A/V reproduction accuracy, there is no concept of "accounting for taste". As art consumers we don't "pick" the level of bass, or the tint of a scene's sky, any more than we pick the ending of a book. "High fidelity" means "high truthfulness" , faithful to the original artist's work: an unmodified, neutral, accurate copy (or "reproduction") of the original with, ideally, no discernable adulterations: aka "transparency".

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post #5023 of 5034 Old 01-28-2016, 07:39 PM
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Quote:
Originally Posted by m. zillch View Post
A casual search found many complaints of Uverse using too much compression. This is easiest to see with giant, 1080p TVs like ours and people with smaller TVs might not even notice it. Sending the signal wirelessly to other rooms adds yet even more compression adding insult to injury!


The real test is to find some high quality TV show on a channel you can watch both over the air, OTA, and through Uverse. The Tonight Show might be a good example. Switch back and forth. If Uverse looks yucky yet live OTA on the same show/channel looks fine, then there's your proof right there.
Thanks Zillch, I was figuring it was the Uverse signal. That's a good idea to compare OTA signal, I'll have to pick up an HD antenna? I think Costco sells one I'll check it out

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post #5024 of 5034 Old 01-28-2016, 09:30 PM
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Well keep in mind the Panasonic PTAE8000 is just a monitor, not a full fledged TV set with an included OTA tuner, so you'll need an HD tuner to go with that antenna!


I bought an external HD tuner recently and was surprised to discover how inexpensive they are these days [They used to be hundreds of dollars just a few years ago]. I bought this one, should you care:

http://www.amazon.com/3500STBII-Mult.../dp/B00GOILYB6

I bought it for live TV as a backup to cable. It also has a rudimentary DVR functionality if you add a hard drive or large thumb drive to store the recordings.
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In A/V reproduction accuracy, there is no concept of "accounting for taste". As art consumers we don't "pick" the level of bass, or the tint of a scene's sky, any more than we pick the ending of a book. "High fidelity" means "high truthfulness" , faithful to the original artist's work: an unmodified, neutral, accurate copy (or "reproduction") of the original with, ideally, no discernable adulterations: aka "transparency".
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post #5025 of 5034 Old 01-31-2016, 01:19 PM
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FIOS users: I finally took fios into my HT and I lose video signal randomly. Sound will not cut off to the AVR, but the PJ loses video, displaying the pj's standard inputs info bar on top right. This type of video loss never happens otherwise. Is there something finicky about FIOS box and how it handles hdmi.

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current gear: lcr JTR 212HT ~ quad JTR 8LP ~ dual JTR Orbit Shifters LFU ~ Elemental Designs eD6c ~ Marantz SR7008 ~ PT-AE8000U ~ Elite 176" 2.35 ATS
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post #5026 of 5034 Old 02-03-2016, 08:46 AM
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Quote:
Originally Posted by ellisr63 View Post
I have seen others on AVS also that leave the lens in place at all times too. I don't have links, but I found them when I was looking into getting the lens...so I really don't know if this is a normal practice or not, but it works for me, and apparently others too.

I also leave my lens in place at all times, but I switch between the projector's 4:3 and V-FIT aspect modes, so that my projected aspect ratio always matches my source aspect ratio (note that I too don't watch any content narrower than 16:9; if you wanted to watch 4:3 source material in it's correct aspect ratio with the lens in place, you'd be out of luck unless you have an external video processor that allows for custom a/r). I choose the 4:3 aspect mode for 16:9 content vs. your choice of the native 16:9 mode because personally, I prefer to put up with pillarboxing when watching 16:9 content, rather than having an unnatural stretched picture. Yes, that means I'm always scaling no matter what I watch (and scaling is bad), and yes I'm losing some pixels (and therefore brightness) when watching 16:9 source material. But I'd rather lose the brightness on 16:9 content, which tends to be tv/sports and therefore naturally brighter and less critical viewing material anyway, than losing brightness on 2.35:1 content like one does when using the lens memory/zoom method. Sure, a sled gives you the best of both worlds, but motorized sleds are expensive to buy and complicated to build, and I simply don't care for the idea of anything un-motorized/non-automated. I'm not saying my way is the right way, but for the time being, it's the right way for me.

As an aside, I also seem to think the picture looks a bit sharper and overall better through the a-lens. Granted this could very well be placebo, as I've done no blind testing that alternates between lens and no lens. But hey, If you will it, Dude, it is no dream”.
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post #5027 of 5034 Old 02-11-2016, 02:52 PM
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Question yall. Im a bit confused on one subject. Im wanting to upgrade to this projector to have the ability to watch 2.35:1 material and maximize what the projector can do. I know this projector can adjust from a 16:9 source to a 2.35:1 source. Is that the same as CIH that I see in other threads? I see some of you mentioning the panamorph lenses here and it made me wonder, is there a difference in what this projectors 2.35:1 ability and a lense attachment? Better stated, I thought this projectors ability to project in 2.35:1 AR was the whole point of buying it to avoid buying a high priced anamorphic lense.
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post #5028 of 5034 Old 02-11-2016, 05:18 PM
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^It's a complex subject and hard to answer in one forum post but in a nut shell here's the breakdown:


Q. How do I get the best possible image quality, price no object, for 2.35 movies and not care about anything else?
A. Buy a good anamorphic lens and an unusually wide, 2.35 (or 2.40) aspect ratio (AR) screen. This setup is not meant for properly viewing 1.78 (16x9) material such as broadcast/cable/satellite HDTV or 1.78 movies.


Q. But what if I want the best possible 2.35 AND 1.78 experience, price no object?
A. Buy a good anamorphic lens, an electronic robotic mechanism to slide (or swing away) the anamorphic lens out of the light path when it should not be used and degrades the image, i.e. when watching 1.78 material, and an electronic mechanism to open and close curtains on the sides of your screen to change its width, based on which AR is being used at the time.


Q. That sounds complex, and I'm not sure I can get my universal remote to spit out all the commands for the two robotic mechanisms, the variable screen curtains and lens slide/swing. Is there a simpler way?
A. Yes, get out of your chair and walk up to the screen curtains and anamorphic lens sled to make these adjustments manually, by hand, and without robotic mechanisms to do it for you.


Q. Not happening. What else?
A. Compromise the image quality for 1.78 material by leaving the lens in place all the time, even when it not only is not needed, but is also detrimental to the image, and leave the screen in the wide, 2.35 shape all the time, even though for some material there will be blank side areas flanking the image where no light is projected.

In A/V reproduction accuracy, there is no concept of "accounting for taste". As art consumers we don't "pick" the level of bass, or the tint of a scene's sky, any more than we pick the ending of a book. "High fidelity" means "high truthfulness" , faithful to the original artist's work: an unmodified, neutral, accurate copy (or "reproduction") of the original with, ideally, no discernable adulterations: aka "transparency".

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post #5029 of 5034 Old 02-11-2016, 05:30 PM
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Quote:
Originally Posted by Daffypuck View Post
I thought this projectors ability to project in 2.35:1 AR was the whole point of buying it to avoid buying a high priced anamorphic lense.
It is a great pj for many reasons actually. This pj's fancy ability to automatically (or manually) re-zoom, re-focus, and re-position the image based on AR allows you to use the concept of CIH, constant image height, so that if you have a screen with moving side curtains/panels [or use a big, wide, white wall, as I do] you can take advantage of the wider image, yet maintain the same image (screen) height, however unlike when using an anamorphic lens there is a slight loss in image brightness and resolution when you do this. I personally find this loss of brightness and resolution to be trivial, and the fact that I haven't compromised my 1.78 material at all is extremely important to me.


Panasonic's partial solution is a nifty trick I find quite useful. My video shows it in action:



In A/V reproduction accuracy, there is no concept of "accounting for taste". As art consumers we don't "pick" the level of bass, or the tint of a scene's sky, any more than we pick the ending of a book. "High fidelity" means "high truthfulness" , faithful to the original artist's work: an unmodified, neutral, accurate copy (or "reproduction") of the original with, ideally, no discernable adulterations: aka "transparency".

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post #5030 of 5034 Old Yesterday, 02:29 AM
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Is it possible to use the trigger link inputs to connect a cable directly to a Harmony Ultimate Hub IR blaster port to control the projector, specifically on/off?

Or does Viera Link work well over boosted HDMI from an Onkyo receiver the turn on/off the projector as the receiver is powered on and off?
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post #5031 of 5034 Old Yesterday, 02:52 AM
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Although hard wired connections are more reliable, I use my Panny 8000 and AVR using a Harmony 700 (similar to the current 650) and the automated turn on and turn off sequences, via standard IR, work quite well and hardly ever go out of sync. When they do it is because of my own error of not leaving the remote aimed in the right direction for the full sequence.


I'm not familiar with this hub device you speak of but the Panny does take standard 12V triggers via mono minijack connections, yes. Pages 79-80 of the manual talks about it:
http://www.projector-manual.com/manu..._PT-AE8000.pdf


The projector's Viera link , or generically HDMI-CEC, seems to work well too, at least with my gear.

In A/V reproduction accuracy, there is no concept of "accounting for taste". As art consumers we don't "pick" the level of bass, or the tint of a scene's sky, any more than we pick the ending of a book. "High fidelity" means "high truthfulness" , faithful to the original artist's work: an unmodified, neutral, accurate copy (or "reproduction") of the original with, ideally, no discernable adulterations: aka "transparency".

Last edited by m. zillch; Yesterday at 02:56 AM.
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post #5032 of 5034 Old Yesterday, 12:29 PM
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Originally Posted by Batiatus Rules View Post
Is it possible to use the trigger link inputs to connect a cable directly to a Harmony Ultimate Hub IR blaster port to control the projector, specifically on/off?

Or does Viera Link work well over boosted HDMI from an Onkyo receiver the turn on/off the projector as the receiver is powered on and off?
This is what I did... (use the RS-232 interface and an IR->RS232 adapter)
Panny PT-AE4000U over RS232
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post #5033 of 5034 Old Yesterday, 08:44 PM
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This is what I did... (use the RS-232 interface and an IR->RS232 adapter)
Panny PT-AE4000U over RS232
Yep. Me too!

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post #5034 of 5034 Old Today, 02:16 AM
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This is what I did... (use the RS-232 interface and an IR->RS232 adapter)
Panny PT-AE4000U over RS232
Seem a bit excessive for what I'm hoping to do. Basically need to control the projo from the Harmony Hub with an IR blaster eye. I can run cable right to the projo and set the eye directly where the IR sensor will pick it up. Or I can run the blaster eye to a spot above the screen where it will do the same thing. Just wondered if the Vera link would work or if you can directly connect the panny to the hub through the IR blaster ports.
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