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NEW RANGE JVC 2014 - Page 60

post #1771 of 4030
When I change to high altitude I can hear the fan speed slightly increase. Unless I'm crazy but I am very certain of it. This is in low lamp.
post #1772 of 4030
Quote:
These kinds of direct A/B tests need better data, I am reading mostly subjective info. How does this translates into PQ?

To use an analogy of painting, the JVC is a Caravaggio, while the Sony 500 a Van Gogh'

I am going to start using dead artists to compare projectors going forward.

That's the strangest thing I think I've ever heard on these forums. Is my Lumis a Michelangelo? Which new projector is considered the Andy Warhol ? biggrin.gif
Quote:
I hope they covered each lens better than this... blue painters tape?
Don't they know about cardboard ? rolleyes.gif
post #1773 of 4030
I have a friend that considers his review done when he measures lumens, on off, and how well the machine calibrates.

This painting stuff is just babble unless one can do some decent correlation between the painting styles and the say projector resolutions etc. For example, I would say my Sony 1000ES is an Andrew Wyeth.
post #1774 of 4030

Any one tried the 4910 yet? I can get a used RS66 or the 4910 for the same price which one should I choose?

post #1775 of 4030
Quote:
Originally Posted by wse View Post

Any one tried the 4910 yet? I can get a used RS66 or the 4910 for the same price which one should I choose?

I would probably choose the RS66. If you don't get the 66, let me know about it
post #1776 of 4030
Quote:
Originally Posted by blee0120 View PostI would probably choose the RS66. If you don't get the 66, let me know about it

Why? It can't pass 4K where as the new one do :)

post #1777 of 4030
Quote:
Originally Posted by wse View Post

Why? It can't pass 4K where as the new one do smile.gif

I would choose it over the 4910 because there is no 4K sources other than clips. However, if it was the RS57, I would definitely choose the 57. However, the 4910 is a better value for a couple of years.
post #1778 of 4030
Quote:
Originally Posted by blee0120 View PostI would choose it over the 4910 because there is no 4K sources other than clips. However, if it was the RS57, I would definitely choose the 57. However, the 4910 is a better value for a couple of years.

My thoughts! I will see how much I can get the RS57 for?

post #1779 of 4030
Quote:
Originally Posted by Craig Peer View Post

That's the strangest thing I think I've ever heard on these forums. Is my Lumis a Michelangelo? Which new projector is considered the Andy Warhol ? biggrin.gif
Don't they know about cardboard ? rolleyes.gif

Had a good come back. Was going to say, your projector is a paint by numbers, but with it being a Lumis, it just does not fit. biggrin.gif
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post #1780 of 4030
Quote:
Originally Posted by wse View Post

Any one tried the 4910 yet? I can get a used RS66 or the 4910 for the same price which one should I choose?

Not enough info. Does the 66 have warranty? Have you seen it to confirm there are no problems with it? Also with your setup will you be able to close down the iris? If not then you could get as good or better contrast using the dynamic iris on the 4910.
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post #1781 of 4030
Keep in mind, the same they did with 49 (to DLA-RS4910U), they did with 67 too (DLA-RS6710U):

- DLA-RS49U
- DLA-RS4910U
- DLA-RS57U
- DLA-RS67U
- DLA-RS6710U
post #1782 of 4030
Quote:
"Originally Posted by wse View Post

Any one tried the 4910 yet? I can get a used RS66 or the 4910 for the same price which one should I choose?"
Quote:
Originally Posted by AV Science Sales 5 View Post

Not enough info. Does the 66 have warranty? Have you seen it to confirm there are no problems with it? Also with your setup will you be able to close down the iris? If not then you could get as good or better contrast using the dynamic iris on the 4910.

And possibly the DI on the 4910 will allow it to effectively surpass the CR/blacks of any previous model.
post #1783 of 4030
Quote:
Originally Posted by noah katz View Post

Quote:
"Originally Posted by wse View Post

Any one tried the 4910 yet? I can get a used RS66 or the 4910 for the same price which one should I choose?"
And possibly the DI on the 4910 will allow it to effectively surpass the CR/blacks of any previous model.

It is very important to categorise that a little as DI is a new concept for previous JVC owners. If you consider the 4910, the native contrast is only slightly improved over the 4810. If there is a night city scene with skyscapers with lots of lights on in the buildings, the only thing a DI will give you is optimising what the peak light output is for that specific scene, but the actual contrast while specifically watching that scene remains unchanged.

Or consider this in another way...what benefit do you think a DI provides? The big hope that we had as JVC users, is that the DI would focus on better blacks. Well it does do this, but we don't know how much more the DI moves from its smallest manual setting (-15). So fi you pin the aperture manually to -15, how much smaller will the DI go and how much more contrast will that give you. If -15 already gives you 14ftL and you don't want it any brighter than 14ftL, then the only boost you will get will be that difference between -15 and true minimum. It may be a very small difference. If for your screensize and screen material gain, that you need -10 on the aperture adjustment to hit 14ftL, then the DI will be working over a larger range. The larger range it operates over, the greater the dynamic contrast becomes, but the actual contrast range exposed in any specific scene remains the same. The perceived change from light to dark scenes increases however, as does the risk of side effects and influences on gamma accuracy.

On Sony projectors the importance of a DI Is clear due to the limited native contrast. On JVCs its benefit is more difficult to ascertain. To me the main benefit is the fact the aperture can go smaller than -15, but nobody has measured by how much. I will be VERY interested to know about this once it gets into the hands of those with measuring equipment. You see, I normally aim for 12-13ftL. As I watch in complete blackness, I find anything higher really makes my eyes squint if it goes from a dark indoor scene to outdoors. I find that very uncomfortable it if it happens repeatedly in the movie. So my aperture on my X75 is set to -13. The X76 is brighter by 100 lumens than the X75, so I would probably gain further in native contrast by being able to close down all the way perhaps. But then the only benefit of the DI would be where it goes smaller than -15. I know of quite a lot of other JVC enthusiasts who also have their aperture set to the minimum.....
post #1784 of 4030
Quote:
Originally Posted by cischico View Post

When I change to high altitude I can hear the fan speed slightly increase. Unless I'm crazy but I am very certain of it. This is in low lamp.

That what high altitude mode does. The air is thinner at high altitude and more of it is thus needed to take the heat away. There the fan must speed up to move more air.
post #1785 of 4030
Quote:
Originally Posted by JonStatt View Post

It is very important to categorise that a little as DI is a new concept for previous JVC owners. If you consider the 4910, the native contrast is only slightly improved over the 4810. If there is a night city scene with skyscapers with lots of lights on in the buildings, the only thing a DI will give you is optimising what the peak light output is for that specific scene, but the actual contrast while specifically watching that scene remains unchanged.

Or consider this in another way...what benefit do you think a DI provides? The big hope that we had as JVC users, is that the DI would focus on better blacks. Well it does do this, but we don't know how much more the DI moves from its smallest manual setting (-15). So fi you pin the aperture manually to -15, how much smaller will the DI go and how much more contrast will that give you. If -15 already gives you 14ftL and you don't want it any brighter than 14ftL, then the only boost you will get will be that difference between -15 and true minimum. It may be a very small difference. If for your screensize and screen material gain, that you need -10 on the aperture adjustment to hit 14ftL, then the DI will be working over a larger range. The larger range it operates over, the greater the dynamic contrast becomes, but the actual contrast range exposed in any specific scene remains the same. The perceived change from light to dark scenes increases however, as does the risk of side effects and influences on gamma accuracy.

On Sony projectors the importance of a DI Is clear due to the limited native contrast. On JVCs its benefit is more difficult to ascertain. To me the main benefit is the fact the aperture can go smaller than -15, but nobody has measured by how much. I will be VERY interested to know about this once it gets into the hands of those with measuring equipment. You see, I normally aim for 12-13ftL. As I watch in complete blackness, I find anything higher really makes my eyes squint if it goes from a dark indoor scene to outdoors. I find that very uncomfortable it if it happens repeatedly in the movie. So my aperture on my X75 is set to -13. The X76 is brighter by 100 lumens than the X75, so I would probably gain further in native contrast by being able to close down all the way perhaps. But then the only benefit of the DI would be where it goes smaller than -15. I know of quite a lot of other JVC enthusiasts who also have their aperture set to the minimum.....

Gamma accuracy? When one engages a dynamic iris, I don't know about the Mensa Iris, whoops Intelligent Iris, on the JVCs the gamma is changed and it changes dynamically to makes the whites brighter. This will cause some clipping and will also cause so color shifting that one can readily observe by watching the same scene with the Brainiac or other type of dynamic iris on. No matter how bright or dumb your marketing and sales people are, dynamic irises have some side effects which for the most part are worth the look at dem blacks comments. A worthwhile trade off.
post #1786 of 4030
Quote:
Originally Posted by AV Science Sales 5 View Post

Had a good come back. Was going to say, your projector is a paint by numbers, but with it being a Lumis, it just does not fit. biggrin.gif

You could buy a real good painting for what a special color on a Lumis costs. smile.gif
post #1787 of 4030
I'd rather paint images on a screen with my Lumis - that is art IMO ! smile.gif
post #1788 of 4030
What is the last date to get in on the preorder pricing?
post #1789 of 4030
Mike is getting slower. Look for his post saying sent you a pm with a big smile.gif
post #1790 of 4030
Quote:
Originally Posted by armstrr View Post

What is the last date to get in on the preorder pricing?

When the projectors hit our dock. Currently we are expecting them to hit our dock the first week of December. Of course if we run out of preorder projectors before then, the preorder price is over. We do not have very many RS57's or RS6710's left available. If you have any questions or would like to order, give us a call. smile.gif

Added

The smiley was for Mark, since he was expecting one.
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post #1791 of 4030

The RS57 sounds good

post #1792 of 4030
Its really a lousy speaker but if you put your ear real close to it and the room is really quiet you can hear the fan I suppose. Personally I like my speakers to vary in loudness and frequency but that's just me. smile.gif
post #1793 of 4030
How much would be RS57 and RS4910?
post #1794 of 4030
In Chile?
post #1795 of 4030
Quote:
Originally Posted by Gradius2 View Post

How much would be RS57 and RS4910?

$8000 and $5200 retail.

B.
post #1796 of 4030
Quote:
Originally Posted by mark haflich View Post

In Chile?

Yep.
post #1797 of 4030
Quote:
Originally Posted by Brian B View Post

$8000 and $5200 retail.

B.

LOL, but those are the price list.
post #1798 of 4030
What did you expect on a forum that doesn't allow price discussion?

B.
post #1799 of 4030
Most US dealers won't export to South America. Some will. But foir repairs it would have to be sent back to the US and then shipped back to Chile probably first stopping at a US address from shipment back from it.
post #1800 of 4030
When all is said and done we hope that the II benefits the JVC's the same way it does when properly executed on DLP's - it makes it look like it has higher CR than it really has.

The biggest benefit will be where it is most sorely needed - in dark scenes with dim highlights.
Quote:
Originally Posted by JonStatt View Post

It is very important to categorise that a little as DI is a new concept for previous JVC owners. If you consider the 4910, the native contrast is only slightly improved over the 4810. If there is a night city scene with skyscapers with lots of lights on in the buildings, the only thing a DI will give you is optimising what the peak light output is for that specific scene, but the actual contrast while specifically watching that scene remains unchanged.

Or consider this in another way...what benefit do you think a DI provides? The big hope that we had as JVC users, is that the DI would focus on better blacks. Well it does do this, but we don't know how much more the DI moves from its smallest manual setting (-15). So fi you pin the aperture manually to -15, how much smaller will the DI go and how much more contrast will that give you. If -15 already gives you 14ftL and you don't want it any brighter than 14ftL, then the only boost you will get will be that difference between -15 and true minimum. It may be a very small difference. If for your screensize and screen material gain, that you need -10 on the aperture adjustment to hit 14ftL, then the DI will be working over a larger range. The larger range it operates over, the greater the dynamic contrast becomes, but the actual contrast range exposed in any specific scene remains the same. The perceived change from light to dark scenes increases however, as does the risk of side effects and influences on gamma accuracy.

On Sony projectors the importance of a DI Is clear due to the limited native contrast. On JVCs its benefit is more difficult to ascertain. To me the main benefit is the fact the aperture can go smaller than -15, but nobody has measured by how much. I will be VERY interested to know about this once it gets into the hands of those with measuring equipment. You see, I normally aim for 12-13ftL. As I watch in complete blackness, I find anything higher really makes my eyes squint if it goes from a dark indoor scene to outdoors. I find that very uncomfortable it if it happens repeatedly in the movie. So my aperture on my X75 is set to -13. The X76 is brighter by 100 lumens than the X75, so I would probably gain further in native contrast by being able to close down all the way perhaps. But then the only benefit of the DI would be where it goes smaller than -15. I know of quite a lot of other JVC enthusiasts who also have their aperture set to the minimum.....
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