@ R Harkness
Here's a google translate of the link by Thebes:
*** Image impressions and measurements JVC DLA -X700 ***
JVC DLA -X700 -
The Black Master
In brief, the new JVC projectors appear on the market. I had the opportunity to be able to consider a pre-production model in more detail. Since it does not yet include the final software , explained this a few imperfections in the reproduction, which are eliminated in the final series devices ( hopefully) .
But what I have been able to see on the canvas made , already huge fun.
I was curious on the light output of the JVC DLA -X700 , as the reports of "stock Finster " to " 4.40 meters image width are very well lit " rich .
In order to take the results of the measurements beforehand , both statements are completely over the top in my opinion .
But first things first .
Equipment and installation
JVC has changed a few things on the projector . New Wired grids and D- ILA devices are designed to improve the contrast range . The X700 should now be a whopping 120,000:1 on / off . The predecessor to DLA- X75 was estimated at 90.000:1 On / Off . This is an increase of over 30% .
Newly added :
- 4K Kontent can be played back natively
- An Auto Iris was implanted
- Frame Insertion (CMD ) is available for 3D
Removes were :
- Graphics in the Color Management menu
- Gamma Equalizer
- All analog image signal connections
If we look at the back of the DLA -X700 , JVC is apparently on the assumption that users connect their player device only via HDMI. About 2 HDMI ports, the playback can be done . The RS- 232 and LAN can be used to control the projector with a smartphone , and updates can be loaded via these interfaces .
Thanks motorized zoom, focus and lens shift image adjustment succeeds quickly . Within a few minutes after the projector is aligned . With the lens memory feature various image formats can be stored and retrieved easily from the seat. If you have a screen in Cinemascope Format Home Theater, can play any imaginable image formats in the correct aspect ratio . For example, movies are played in 4:3 , 16:9 and 2,39:1 with identical image height it.
The Picture menu is logical and intuitive. There are all necessary regulator is to adjust the image quickly and correctly.
For the individual picture modes , different color profiles to choose from. From standard (REC 709 ) to Adobe RGB , and more.
The color space can be adjusted quickly and precisely. The coordinates of the primary and secondary colors can be changed .
The white point can be adjusted with RGB gain / offset controls.
JVC has the useful gamma equalizer deleted without replacement . It is now no longer possible to set an exact grayscale pattern in which at 12 point RGB level, and the brightness is corrected. Too bad . For a brightness and gamma correction accommodation near Black and White ( Dark Level , Bright levels) were introduced , which can be used for the primary colors and white. The governor " Dark Level " cooperates excellent. Dark areas near black are good , without burning out the black level deteriorated appreciably . Also, a correction to the minus is thus possible if the gray levels near black are too bright. Very practical and functional.
Overall, I only took about 30 minutes to perform the settings for color space , grayscale gradient and gamma .
The frame interpolation means for JVC " Clear Motion Drive" (CMD ) . The user has the choice between " Off", " Low" , "High" and " NTSC / 24p ." In the latter mode is a feature that DVDs from USA and Japan reproduces smooth 24 Hz . In the " high " mode of motion act indeed very " fluent " , but there are then but numerous errors evident. The CMD mode " Low" works much better and less noticeable . There are so hardly noticeable artifacts negative . At most, in really difficult scenes such as "The Dark Knight " (Chapter 1 - Roof overflight ) fall off and artifacts in the form of line flicker . Here JVC has improved the frame interpolation visible. Better , this scene I know of no frame interpolation dar.
The e- Shift device is on the 3rd Generation ago. The operation should have been further improved. Unprocessed (center) is at close range a Gritt recognized, the enabled e- shift function (right) disappears completely . Diagonal lines are now displayed with less " stair step" without thin lines are " thickened " appreciably . I think this is an improvement to the previous generation .
We come to the image impressions. For this purpose we look at the measurement results more accurate. 4K playback led to a small surprise , even the A / B comparison with a Sony VPL- VW500 disclosed worth mentioning ...
Continued here !
- So the auto - iris contracts
- Comparison with the Sony VPL- VW500
- Measurement results , operating noise and Others
Photos : Michael B. Rehder
*** Image impressions and measurements JVC DLA -X700 *** - Part 2 !
JVC DLA -X700 -
The Black Master
- Measurement results
- So the auto - iris contracts
- Some impressions
- Operating noise
- Comparison with the Sony VPL- VW500
Coming . Impressions to the image of the JVC DLA -X700 For this purpose we look at the measurement results more accurate. It must be premised that this is this is a pre-production model, which has not yet played the final firmware version.
The JVC DLA -X700 has such good work settings that out of the box already natural colors are represented . Nevertheless, calibration professionals and enthusiastic amateurs have the opportunity to already good color representation further perfecting . All other home cinema fans use the THX picture mode , which almost offers an ideal gamma and color performance.
CIE diagram : The black triangle shows the target according to the standard , the white triangle shows the device performance. Factory setting ( left) the color is already properly . The color sail is only slightly shifted towards the red . This lightweight Rotüberschuss is difficult to see in the film image . After calibration (center) is red approaches to its target coordinates. But only a few steps were necessary. Even better , the picture mode is THX (pictured right) , who ever needs no correction. The minimum deviations are within the measurement tolerance .
Grayscale gradient from the factory - Left: The color temperature runs slightly higher with the preset 6500K . Using the RGB gain / offset controller , this can be confidently improved. Already from 30 IRE upwards (see picture right) the color temperature of 6500 Kelvin is well taken. For as good a setting below 30 IRE requires a gamma Equalizer, JVC has unfortunately been removed from the projector.
Factory preset gamma "Normal" is set. The increase in brightness (left) runs a little too low. The gamma value of 2.22 is not met. It should therefore be used , the correction value " 2.3 gamma " . So that the actual brightness profile is from 2.22 to 2.17 (right).
After calibration, the tracings looked fantastic. It was all color and shades of gray visible. Already the range of values Y = 17 stood out from black (Y = 16) slightly. At the other end, nothing outshone the white. All gradations near White were well distinguished from one another .
About the manual image adjustment JVC also offers a " Auto Calibration" . The calibration is thus very simple. The optional sensor is positioned in front of the screen. With a cable of the sensor with the projector is connected . The measurement is started and takes place fully automatically. This engages the DLA -X700 back to 256 levels of gray , which he is expected to achieve a perfect grayscale and gamma curve . JVC recommends for automatic calibration of the sensor " Spyder 4".
The media player Sony POP FMPA1 contains two film clips , various photographs and a few sports clippings, all of which have a resolution of 3840 x 2160 pixels.
It was me, unfortunately, not possible to bring the Sony POP FMPA1 at the JVC DLA -X700 running. Whether the cause was on the player (proprietary Sony format? ) Or the projector ( pre-production model with non- final software) , currently still eludes my knowledge. Thus, the sighting of 4K footage was not possible.
If the series models of the new JVC projectors are available , but I will catch up on . Thus, the playback was limited here at Full HD Kontent .
Brightness, Contrast, and Volume
The maximum brightness is 950 lumens ( D65) . The black level is about 0.02 lumens. With a maximum zoom ( wide angle) and open aperture is the On / Off contrast whopping 42.000:1 ! If the auto - iris in the DLA -X700 is activated , the shutter closes when a leaked black screen so far that barely measurable " low light " falls on the screen. The black level is now approximately 0,002 lumens ! This is in effect " light off" !
I was impressed that the maximum brightness is not reduced by the calibration. On the contrary , by the calibration of the JVC DLA -X700 has become even minimally brighter.
In addition, JVC has the operating noise significantly reduced. The DLA -X700 is now much quieter than a JVC DLA- X35 , and so he is back fully fit for living room . In high lamp mode , the DLA -X700 is in the range of "older" ( silent ) DLA -X30 . They had around 26 decibels. In the low lamp mode, the X700 is barely perceptible.
First, the initial sequence started in Black / White from "Casino Royale " . Here James Bond sitting on a chair. All the details are on his coat staining recognizable. Deep black buttons stand out from lapel and the jacket collar significantly. The tack-sharp face reveals every fold . The coarse film grain looks very natural. This scene I've seen many times before, but never with such a fantastic plasticity. The deep black stands out from such a bright highlight that it is a true joy. In Chapter 8 ( Zugszene - Montenegro) really all pinstripes on the suit can be seen. The arrival of Bond in the Bahamas is simply stunning. The turquoise sea is lit so beautifully that here arise holiday feelings . The complexion of James looks extremely healthy when he steps off the plane, to look around .
In "Total Recall" light up the rain-soaked streets at night . Knack Focus the neon-colored display signs are reproduced. The dark-clad people on the roofs to be formally emerged . Here is drinking anything from the Black . All shades of gray are mapped meticulously accurate. As Douglas Quaid the premises of " Rekall " enters , he receives an Asian in mood lighting atmosphere . This color brilliance made me smack formally with the tongue. The deep red of the wall lamps, the single black strand of hair of the Asian , and the fine applications of furnishings showed how much trouble the filmmakers have given with the equipment . In "Star Wars - Episode 3" are details in the space battle (Chapter 3) to recognize that I 've never noticed. Explosions seemed to literally come out of the screen and the number of ships seemed to have increased, and the elevator shaft was almost a threatening depth. Since all this is presented without any screen door , the image gets a pleasant natural look , similar to a superb film projection . This is home theater at its best !
A / B comparison JVC DLA -X700 vs . Sony VPL- VW500
The Sony VPL- VW500ES is the JVC DLA -X700 not claimed . The scenes above features of the Sony as well , if it is set correctly. The detail and sharpness native representation is identical. However, the colors of the Sony seem to shine more , due to the significantly higher maximum brightness (950 lumens JVC DLA -X700 vs . 1500 Lumens Sony VPL- VW500ES ) . Daylight shots look even brighter and more vivid by the higher light yield. Fine details in pixel resolution show both projectors . During the JVC DLA -X700 " fray " these details minimal (with activated E- Shift function ) , the Sony VPL- VW500 Represent is picture The native 4K representation plays his advantage from opposite the " swept " 2 x 2K representation of the e- Shift technology.
In "Total Recall" , the VPL- VW500 's face Quaid is slightly lighter , so it stands out a little better from the night background. The JVC DLA -X700 counters with a visibly better black level , so that the image receives the most depth.
When the auto - iris switched add the Sony , the VW500 turns it up in performance to , and to reduce the visible advantage of the JVC DLA -X700 in dark scenes on a Minumum . Since the auto iris of the Sony operates in real time , their scheme is introduced only in a few scenes to negative. In this regard, the JVC DLA -X700 not compete because their auto-iris is simply useless ! The scheme is far too slow , delayed, since they do not operate in real time , it also discolored bright image content in dark scenes . White then goes towards green . Open the aperture , shift off the colors from green to red , until it then adjusts times. The gamma compensation here engages too strong. This is creepy. But it must not be forgotten that it is in this JVC DLA -X700 is a pre-production model , which has been playing no final firmware. Be noted , this point may be, however, because this unit is also presented to the customer on various home theater days. Apparently JVC is working on this problem of auto- aperture and good after . It therefore remains to be hoped that in the standard models , this weakness will be resolved .
The auto - iris of the Sony , however, operates exemplary. However, a peculiarity also has them. When a black image is played back for 3 seconds , the iris closes further . On the screen is then in effect " light off" . The black level is then 0.01 lumens ! The auto - iris of the JVC DLA -X700 controls already in the normal movie down so far. In direct comparison, not a " brightness difference " could be seen in the black between the Sony and JVC with a black screen and turned on auto- iris. There was literally " light " on the screen - with two projectors. Once an image line is leaked , the auto iris of the Sony opens a little, while the panel of the JVC will be closed . A 1 % white box on black background appears then subjectively equally bright
3D movies show both projectors of the highest quality . The Sony VPL- VW500 rarely shows disturbing crosstalk effects. Better makes the JVC DLA -X700 . The image appears in the same light yield subjectively behind the 3D glasses free of ghosting . While the Sony is the hat from the wizard Gandalf in " The Hobbit " with a little ghosting , no crosstalk effects can be seen with the JVC DLA -X700 .
Somewhat surprisingly , I found it , that the 3D glasses radio from JVC ( PK- AG3 ) on the Sony VPL- VW500ES a better picture than allowed , the 3D glasses from Sony. With the shutter glasses JVC 3D image of the VW500 appeared brighter and with significantly less crosstalk effects. Here Friends of the Sony VPL- VW500 should risk a look at the competition.
Both projectors show in my opinion, the currently feasible in the home theater area. Optimal set is the Sony VPL- VW500 , a nose in front, thanks to the much higher light yield. But he also costs about 3,000 euros more .
The pre-production model JVC DLA -X700 impresses with a crackling sharp image that is free of any Screen Door ( mosquito net) . Due to the extremely high native contrast ratio movies get a plasticity that is simply stunning. All shades of gray are displayed . There drown any details in black. The calibration of the X700 manages confidently and quickly . In addition, the settings are already exemplary. Especially the picture mode THX is so close to the standard that it can be fully recommended for use. The 950 lumen (D65 ) Maximum brightness is sufficient to illuminate the image width to 3.10 meters with 16 Foot Lamberts . If the JVC auto iris improved , the series projector is simply the best Full HD home cinema projector that is currently available for less than 7,000 euros .
Pros & Cons:
+ Image reproduction with no visible pixel structure thanks to e- Shift technology
+ Excellent native sharpness
+ Sensational high native contrast ratio
+ Automatic Calibration
+ 3D radio-based ( RF)
+ Complete motorized lens with lens memory function
- Auto Iris does not work in real time
Technical data / measurements :
Technology : D -ILA
Resolution: 1920 x 1080 pixels
Maximum brightness / black level (D65 calibrated) : 950 lumens / 0.02 lumens
Contrast ( On / Off) : 42.000:1
Distance of 2 meters image width : 2.80 m - 5.60 m
Dimensions: 455 x 179 x 472 mm (width x height x depth)
Weight: 15 kg
Price ( MSRP ) : 6999 , - €
Special feature: E- Shift function without visible screen door , automatic calibration function
Photos : Michael B. Rehder