Official JVC RS10/HD350 Owners Thread! - Page 56

Going by the manual it looks quite easy.

Yes, now that I ACTUALLY looked at the manual it does look quite simple. It also said lamp life was 2000 hours, hence that is why I am getting the warning at 1900 hours, D'OH!!!
I guess I was just wondering what this thing does when the lamp is done. My Infocus 4805 sounded like a bomb when the lamp went. I really don't want to mess this thing up with a lamp explosion!!
I am ordering a new one today and will replace and keep the old one as a just-in-case spare one!!
Mike
PS: Maybe it is just my failing eyes or the change has been incremental but I still think the image is STUNNING!!???

Just curious how is the p.q. at 1900 hours ?

I need some feedback from owners who use the zoom approach for viewing on 2.35 cinemascope screens. Since the RS10 has power zoom and great blacks, I suspect more than a few people might be doing this over the more costly and complex approach of an anamorphic lens and sled.

Having experience with this approach with the Panny PT-AE4000, I'd like to know your experiences with this setup. For example, do you need to use lens shift as well a zoom when moving between aspects? The Panny has the requirement that the projector must be placed within the H/V confines of the screen for the zoom feature to work (somewhat of a eyesore if you ceiling mount). Otherwise, lens shift would be required and the Panny only has manual shift, so the automatic aspect changing wouldn't work. Are RS owners doing similar things to prevent lens shift when zooming? I also tried this capability with a Pro8100 and found the even with the projector "inside" the screen dimensions, that some lens shift was still required. Does this side effect also happen with the RS10 or similar model?

Also, has anybody attempted to automate the zoom (via 3rd party automated remote) on the RS to change aspects on a 2.35 screen with a single key press? The Panny has this feature built-in and I would like know if RS zooming can be programmed in via a smart remote.

After scouring the specs and docs, I haven't been able to find the extent of deep color support for the RS10, specifically whether it supports at least 12-bit depth per each color. I see support for HDMI 1.3, but not necessarily 1.3a. While I realize there is a deep color limit to BD sources (i.e. currently does not support 12-bit color), there is certainly no limit to my Mac Mini as a source. When viewing my computer screen from a Pro8100, I was bothered by color banding because that projector can only resolve 10-bit color. OTOH, with the PT-AE4000, there was no banding (because the latest 3LCD supports 12-bit). So, question:

Does the RS10 support 12-bit color when connected via 1080p/60 HDMI from a computer? Have anyone noticed any color compression/banding when viewing mild gradation images (especially with pure gray scale)?

To reply to both your questions Slickrock:

1. I used to zoom with my HD350 before I bought my lens. I found that I had to slightly adjust the shift after zooming and the focus. I then used the 'shrink' method with my old Lumagen HDQ VP (leave the projector zoomed for 2.35:1 and electronically 'resize' any 16:9 menus and trailers) as this saved having to keep readjusting as I don't tend to watch many 16:9 films anyway. I have a 2.35:1 screen so I'm not bothered by the projected black bars, but now I have a lens I don't have to worry any way.

2. I have successfully sent 36 bit deepcolour to my HD350 using my DVDO Edge as an experiment. I use 30 bit deepcolout all the time as my VideoEQ Pro works best with a 10 bit input.

Curious to know how your projector was mounted. Was it located within the Perimeter dimensions of your screen, or was it outside the window; above as most ceiling mount setups are without an extension pole.

At that time my HD350 was mounted dead centre of the screen, both height and widthways. However I wouldn't recommend this position for the HDxxx models as it seems to be the worst position for exaserbating internal lens reflections: Mine would show 'ghost' images of end credits to one side of the real credits going in the opposite direction, which must have caused image washout on certain scenes too. I repositioned it on top of a bookcase to allow a good helping of vertical lens shift, which cured the ghosting and improved ANSI contrast. Of course zooming now means that the image moves up or down, but I have the lens of course.

Hmm... this could be problematic because I'm planning on purchasing a Da-Lite High-Power screen. Since it is retro-reflective, I'm intend to shelf-mount the projector behind the viewing area only about 6 inches above seating height to achieve maximum gain to allow me to run it in eco mode. This would pretty much put the projector smack in the middle of the screen. So exactly how bad are these reflections - does it manifest as a kind of light leakage?

Roughly how higher off center (in degrees) should I raise the projector to minimize reflections while at the same time to allow zooming without shifting? Since its a 2.8 HP screen, I may be able to sacrifice some gain and mount it a little higher than usual to reduce reflections.

To RS10 folks with a 2.4/2.8 HP screen: how's it working out for you and how is your setup optimized? Iris settings, eco mode, screen size & throw,/ ambient light conditions, etc?

I'm planning on a 138" or 148" diagonal 2.35 HP 2.8 screen and zoom down for 16:9 content ( 110" or 119" diagonal equivalent) with a 15 ft throw in a moderately light-controlled room. Could this setup work?

I'm using 12bits per channel deep colour through my videoeq to the HD350 and no problems whatsoever. It looks great. ))

I have an RS10 paired with a 2.8 HP 119" 16:9. I have the projector mounted in the middle of the screen, just above the seating level. Its at nearly max throw (24') and I'm using Eco lamp and have the iris at its most closed position. I'm not seeing any ghosting at all. Raising the projector and using additional lens shift does not appear to change my contrast, but I haven't measure it yet, so I'm only commenting on what I'm seeing. In other words, I'm not noticing any washout when I have my projector just above seating level. The only difference I notice when I move the projector higher is the obvious loss in brightness. I know the JVCs have internal lens reflection problems, and I should be a prime target with the iris closed down and lens positioned in the middle of the screen, but I' still don't notice it in my theater. I'm not saying its not there, just that don't notice a difference.

It may well vary between different examples, but if you really want to look for it (and maybe you shouldn't if you haven't seen it already ) then this is what I did: I paused some end credits (white text on black background, standard type) with the text in the middle. In my case I could see an inverted out of focus version to the top left of my screen. It was most obvious when a particular film (can't remember which now) had credits to the far right alternating with the far left as the 'ghost' appears differently according to where the text is. It also moves the opposite way, so I initially thought it was my Isco II lens, but it still occured with it out of the way.

I figure that if white credits produced a dimmer white patch elsewhere on the screen, then a bright light in a scene may well cause a dark area on the same scene to be lighter than it should. Obviously this wouldn't help to give deep blacks within a scene. Once I'd increased the lens shift (initially just tilted the projector to compensate) I found a point at which the 'ghost' dissapeared. I then relocated my projector on top of the bookcase (rather than on a shelf within the bookcase) so that it is now roughly level with the top of my screen. The amount of lens shift required to align the image with my screen is enough to remove the ghost image from my 'test' pattern.

Bare in mind that my setup is very long throw, so my zoom is at minimum (not sure if this makes any difference). It's a UK model HD350, calibrated to D65 and I use the iris at around 12 (service menu tweak), so between the factory presets of 2 and 3 IIRC.

Apparently opening the iris more (brighter end) also increases ANSI contrast at the expense of ON/OFF contrast, but I don't need my iris too far open due to my screen gain and personal taste.

Hi there,

I'm shopping around for a blu-ray player and I need some help figuring out if my JVC RS10 does a better job upconverting to 1080p then any sub$200 blu-ray player would.

I cannot find a great deal of information about this on web (projector vs. blu-ray performance with DVDs, etc).

Any thoughts or comparisions? If the JVC does better, then perhaps I could not worry about how my new blu-ray player upconverts(?)

Thanks.

Greg Rogers suggested in his review that a BD player that can upconvert DVDs to 1080p @24Hz will look killer on the JVC because of its ability to process 24Hz. He was using his favorite DVD, Star Wars IV, and said it never looked better -- I would agree.

He was not especially impressed with the JVC's internal video processing, but he says you can avoid this by going with a 1080p upconverting player.

Hello all, I had to ship my 350 in for service. Quick FYI, the address 1500 Lakes Parkway, Lawrenceville, GA 30043 is on the JVC mailer. It does NOT exist. They closed it, if you ship anything there, good luck.
I called and spoke with a totally unfriendly or helpful gal at JVC. I was told there is no way anyone from JVC would send that info to me. When I offered to forward her the email... So the only info was "good luck, it should be returned to me eventually." I was able to contract UPS, the driver in GA was very nice and redirected it to the California address. They turned it around in 2 days and should be here Friday.
Service does not require an RMA, just fill the form out and send it to California.

What form?

Remember to ignore the GA address and only use the California label. FYI, don't forget, we have 2-years on the 350, not one.

 

Projector Service Form.pdf 409.505859375k . file

Thanks, just in case...

Just got my repaired 350 back, Complaint Magenta bar on left side of screen. Fix Optical Block PC0065225U9. Anyone know what an optical block is, or does?

It's everything between the bulb and Lens.....

I have a 135" diagonal (116" x 65") HP 2.8, with the RS10 about 14 ft from the screen and about a foot above and behind my head. Although I haven't measured lumens yet, with a new bulb the image is very bright to the point that the minimum lens aperture setting (1) is almost a necessity for comfortable viewing even with the bulb on normal setting, picture set to "natural," and a gamma of 2.3. I still see very faint corner brightening and "shadow puppets" are quite evident, although not to the degree seen with a RS1.

This is very good news to me because, after all, I will lose 50% lumens over the next 300-500 hours. I'll be opening the aperture as time passes.

I haven't seen any reflections or stray light in the image.

Is there an optimal throw ratio?

My screen is Carada 118" (102.9" wide viewable area). I can really mount projector any distance. Lens is will be about 6" above top of screen. I was thinking of mounting it right at 15ft away, maybe closer if I can get away with it. Thoughts?

Seating distance is right at 14ft, so the projector could be directly over my head (is it preferable to have it behind you?)

I take it the shadow puppets are due the HP aspect of the screen rather than the black level ability of the projector. I would expect the puppets would be worse on the HP with any lesser projector with inferior black levels (i.e. non RS ). They certain were on a Pro8100 I auditioned awhile back.

I have a small 80" Sony Chromavue I picked up for $99 that is like a poor man's Black Diamond, and love the absence of shadow puppets and of course the ambient light rejection of the near black screen. OTOH, I want a way bigger screen (thinking a 138" diag. 2.35 aspect) without sparkles and no edge dimming. With my dinky 2.8 HP sample, what I see impresses me with its plasma-like brightness.

Also, the usable brightness of the RS10 while maintaining blacks and shadow detail is impressive and I'm not surprised you had the back down the iris and use eco mode when using it with this screen. Blacks are affected by room characteristics as well. How have you treated you room and can you elaborate on ambient the HP light rejection?

I am waiting on one of the AVS JVCRS10 refurbs that I ordered and looking for screen recommendations. Fixed screen 120diag would be fine. Walkout basement fairly light controlled. Prob watch 60/40 bluray/hdtv. Want to maximize PQ and have plenty of brightness for football w/ minimal lighting on. Any recommendations would be great.

The RS10's black level is the best of any pj even though it is also the brightest one at calibrated 100 IRE I've owned so far. My only real concern is how that bulb will dim and how I'll lose on-off CR as I open the aperture to compensate. At least that loss will occur gradually and there is so much brightness now, and I'm interested in that firmware "upgrade" that allows more gradations in aperture adjustment.

My HT is quite black on all surfaces with all LEDs on equipment taped over, etc., so there is not much room light backwash, so to speak, from mixed IRE scenes back onto the screen. The shadow puppets on video black are more visible because I use the HP and because my bulb is less than 100 hours old now - they're already less apparent than when the bulb was brand new.

The HP screen has it's limitations, especially the quick dimming of light more than 20 degrees off axis. But that same character does result in more rejection of light emanating from off-axis sources.

Even RS35 owners report shadow puppets although their visibility will depend on the size of the screen, bulb age, and whether or not a gain screen is used.

The change in CR from bulb aging should be linear..... white and black just move to lower light levels. On the other hand, I have seen the aperture to be non linear. The reduction in total brightness is greater than the reduction in black level. Measuring from the screen, what we see, a white field and a black field, then calculating the CR, the CR decreased with each step of the aperture closing.

Really! I'm not doubting you... you are certainly the guy who knows this stuff. But I've always heard the opposite... wide open aperture gives you the worst CR; closed aperture gives you the best.

I got a $3K light meter just for front projection work.... one must remember, for the CR to change something needs to change. The most effective way to increase CR is to reduce the divisor.... black.... The Iris is most effective in reducing light output, mainly white.... If you can reduce black, with a smaller reduction in white, you get improved CR.

Now, if what you heard was true, the reduction in light from the iris is non linear and it would reduce black level more than white level..... it just doesn't make sense to me.... if it were true, wouldn't you think the manufacturers would play up the CR numbers big time...... 50K:1 iris open, 60K:1 iris closed ?????

I originally had hopes that the CR would stay the same and the Iris would just help improve black level for a given viewing condition. I was quite disappointed to find what was actually happening.

As I remember, it has to do with light scatter in the optics. A smaller aperture keeps the light more centered in the optical path. The "50K:1 iris open, 60K:1 iris closed" you discuss is typical, only even more pronounced. For example, from the RS20 user's thread, Mark Petersen came to the following conclusion from a Cine4Home review:

"Hi Ric, yup we came up with a rough guestimate of what mid-throw might look like based on Cine4home data and came up with this:

iris open
high bulb - lumens ~ 720, contrast ~29750
low bulb - lumens ~ 480, contrast ~ 29750

Iris -6
high bulb - lumens ~ 675, contrast ~32100
low bulb - lumens ~ 450, contrast ~ 32100

Iris -15
high bulb - lumens ~ 305, contrast ~ 43800
low bulb - lumens ~ 203, contrast ~ 43800"

What firmware upgrade might that be? didn't know jvc had released one to increase the graduations of aperture.