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Official JVC DLA-X700R / RS57U Owners Thread - Page 39

post #1141 of 1635
Quote:
Originally Posted by darinp2 View Post

The gray HP is retro-reflective also from everything I've seen. To be clear, we are talking about the Da-Lite High Power materials, right? As far as I know they don't make the 2.4 gray anymore.

If we are talking about those 2 screens then by head on do you mean with your head close to the projector? That would be the highest gain spot and I would expect samples to look pretty close from that spot if the ratings are right. I don't recall if I measured my 2.4 gain gray HP.
Might be and that is unfortunate. If they really believe they have a game changing screen it seems like they would want to get word out and samples is one way. I wonder if they would send one to somebody who does official reviews.

I had to pay for samples from one company once. The screens showed way too much texture (or speckling) to my eye and I'm sure I would have been bothered by it even on a full sized screen. Would be nice if that DarkStar doesn't have that.

--Darin

No, I'm speaking of the grey DNP 23-23 (2.3 gain angular-reflective) v/s the white Da-lite HP 2.4 (2.4 gain retro-reflective). And the white Da-lite HP sample is mounted in the middle of the pj lens, while the grey DNP sample is mounted with the top of the screen level with the top of the pj lens. The pj is shelf mounted right above/behind my head so it's about as good as I can get it all setup.

Well, I just called Elite Screens for the 3rd time and spoke with Molly Draper (I was told by an unnamed source that she is actually affiliated with Draper). She was extremely nice and agreed to send samples. She wasn't sure if she could send the DarkStar, but said she would send the PolarStar. Hopefully I'll get both, that would be awesome. Although I believe the PolarStar would be best for me out of the two since it's angular-reflective and most likely has better viewing angles. Hopefully it doesn't have sparklies like all the other grey screens I've tested, minus the DNP.
Edited by Mr. Hatcher - 2/13/14 at 1:27pm

Gear mentioned in this thread:

post #1142 of 1635
Quote:
Originally Posted by darinp2 View Post

If they really believe they have a game changing screen it seems like they would want to get word out and samples is one way. I wonder if they would send one to somebody who does official reviews.
Quote:
Originally Posted by noah katz View Post

Those screens look very interesting, though googling didn't turn up any reviews, just press releases.

Yeah, the EPV DarkStar & PolarStar are really new materials in Elite's lineup so there aren't many details out there as of yet. The DarkStar received a 2013 CEPro award, but lost out to the Stewart DC-100 for best new screen.

Art from Projector Reviews stated here "Elite Screens launches a new ambient light rejection screen – the DarkStar. I plan to get it in here for review at some point." So that seems promising for an official review.
post #1143 of 1635
Some of the spec's:

Gain: 1.4
Horiz half-gain +/-35 deg
Vert half-gain +/-16 deg
Thickness 0.3 mm
Lenticular pitch 0.065 mm
Min. Lens-Throw-Ratio 1.8:1

http://catalogs.infocommiq.com/avcat/images/documents/dataSheet/DarkStar_White_Paper20131.pdf
post #1144 of 1635
Quote:
Originally Posted by noah katz View Post

No, the Dalite screens do not have the specialized optical coatings with what I gather is wavelength-dependent behavior.

Those screens look very interesting, though googling didn't turn up any reviews, just press releases.

So while we seem to be keeping this the JVC Screens owner thread wink.gif, I'll bite.

Noah or Darin I have a question… why can't a company create an HP AT version for those of us who prefer the speakers behind to mimic the theater house experience. I get that in some ways it would be deemed a "waste" but it would be really nice to see one with a higher than 1.0 gan (or must less in real world application!). Is there some technical reason this just isn't viable/feasible from the vendors?

Thx!
Edited by krichter1 - 2/13/14 at 5:51pm
post #1145 of 1635
I don't know, but perhaps messy edges of the punched holes if the glass beads are applied first, or for that matter after.

The holes aren't any more of a waste than a gray tint; both absorb some % of the light.
Quote:
Originally Posted by krichter1 View Post

Noah or Darin I have a question… why can't a company create an HP AT version for those of us who prefer the speakers behind to mimic the theater house experience. I get that in some ways it would be deemed a "waste" but it would be really nice to see one with a higher than 1.0 gan (or must less in real world application!). Is there some technical reason this just isn't viable/feasible from the vendors?
post #1146 of 1635
Quote:
Originally Posted by krichter1 View Post

It's under Lens Control Steve (to reset lens to center). smile.gif

I thought there was discussion on one of the JVC threads here stating that didn't really center it at all, and the only way was view the lens from the front and manually adjust until it was as close to center as possible?
post #1147 of 1635
Hmmm… must have missed that post but I did test moving the screen over to the right and down then unfocused it; hit the reset and it worked as expected. Maybe you were reading something about the lens "reset" in the SM?
post #1148 of 1635
Quote:
Originally Posted by Geof View Post

+1

If I stand next to my LCD I can see each R,G,B pixel as they can never be converged to be on top of one another. If you can't see misconvergence from your seat leave well enough alone. One caveat, CA can be confused with misconvergence - the more lens shift you're using the more likely CA may become visible but I would not use convergence controls to minimize CA.

I'll bite. Why not use it to reduce CA? The point is getting a grid to appear converged on the screen. The issue is how much correction is necessary. The JVC allows subpixel adjustments by 1/16 of a pixel or close op that. If one shifts an entire pixel, so what? It costs nothing PQ wise. If one shifts less than 16 or more than that, the worst case would be 8/16 and I would avoid that, but say up to 4/16 or so the net benefits would probably exceed any lose of resolution or sharpness. Whether the appearance of misconvergence is caused by crappy panel alignment or a lens not large enough in diameter to handle the amount of lens shift the manufacturer provides. so what?
post #1149 of 1635
Quote:
Originally Posted by krichter1 View Post

Hmmm… must have missed that post but I did test moving the screen over to the right and down then unfocused it; hit the reset and it worked as expected. Maybe you were reading something about the lens "reset" in the SM?

Please be careful everyone and do NOT select the wrong option in the service menu ( lens data reset ). When you select this, whatever position the lens is currently in becomes the new centre!! By doing this, you will find yourself hitting lens stops that don't exist, and wrongly hitting the motor end runs as well which could damage the projector.
post #1150 of 1635
Quote:
Originally Posted by krichter1 View Post

So while we seem to be keeping this the JVC Screens owner thread wink.gif, I'll bite.

Noah or Darin I have a question… why can't a company create an HP AT version for those of us who prefer the speakers behind to mimic the theater house experience. I get that in some ways it would be deemed a "waste" but it would be really nice to see one with a higher than 1.0 gan (or must less in real world application!). Is there some technical reason this just isn't viable/feasible from the vendors?

Thx!

Here is what I have been told by Da-Lite:


"I wouldn’t recommend it on High Power. Even if we could do it, it’s not going to be a microperforation like what you’d get on Audio Vision or the other vinyl stretchy fabrics, it’s going to be a larger hole because it’s a thicker material with a fiberglass weave. It’s what we would call a “theater perf”. The Audio Vision perf is 0.024” diameter, the theater perf is 0.057” diameter. We typically only offer that type of perforation on really large Matte White screens for large auditoriums. For the average person, they’re going to be seated closer and the larger perf will be really distracting. The holes would show up even more because it’s a high gain screen surface."

Sorry for the off topic.
Reply
Reply
post #1151 of 1635
Makes sense thanks Mike!
post #1152 of 1635
Interesting, though I wonder if that was for the 2.8 and may not be applicable to the 2.4 which I understand is much thinner.
Quote:
Originally Posted by AV Science Sales 5 View Post

Here is what I have been told by Da-Lite:

"I wouldn’t recommend it on High Power. Even if we could do it, it’s not going to be a microperforation like what you’d get on Audio Vision or the other vinyl stretchy fabrics, it’s going to be a larger hole because it’s a thicker material with a fiberglass weave. It’s what we would call a “theater perf”. The Audio Vision perf is 0.024” diameter, the theater perf is 0.057” diameter. We typically only offer that type of perforation on really large Matte White screens for large auditoriums. For the average person, they’re going to be seated closer and the larger perf will be really distracting. The holes would show up even more because it’s a high gain screen surface."
post #1153 of 1635
In case anyone's interested I started a thread on the Elite DarkStar screen on the Screens forum

http://www.avsforum.com/t/1517841/elite-screens-darkstar/0_50
post #1154 of 1635
Am I the only one left still commenting on the image quality of these new JVCs? smile.gif

And on that note:

Last night I took the new Criterion Blu-Ray of Michael Mann's "Thief" to my buddy's house to watch on his projection set up. As I've mentioned before he uses my older JVC RS20 projector on a Grawolf 92 or 94" 16:9 screen (1.8 gain, gray based, retro-reflective - he isn't getting the full gain because his projector his high up and his screen is a bit too high, but he gets good brightness, similar to what I have at home on my ST130 screen).

One reason I enjoy watching movies at his place is the RS20. It puts out such a smooth, noise-free, high contrast yet film-like image. When I came home to my (now previous) RS55 projector I sort of missed that film-like look and in a way I felt like I was gaining and losing attributes with the RS55..though more in favor of the RS55 over all.

Last night there was that usual richness of the RS20 image in his set up that I admire. As usual, the black levels looked remarkably good to the point that at first I wondered if I'd really gained that much with the RS55/RS57. But that didn't last too long. His room is painted mostly blue and shows as "gray" when lights are off, behind the image. Perhaps this helped the perception of black levels to some degree. But in lower APL scenes especially, when I compared the black levels to the actual pitch black of his screen border, I could really see how the black levels were higher and more grayish. Essentially, in my set up, my entire room in front of me is as black as that border, which really used to show up the not-really-black levels of the RS20. (Hence, me always pining for even deeper black levels on a projector).

When I got home and put Thief on my new RS57 (at 105" diag) - what a difference! Pretty much every image parameter looked better, better clarity, contrast in all types of scenes, and FAR deeper black levels. It was like watching a different transfer of the movie - sharper, more real, more dynamic. And, again, even with pitch black surrounding the entire image the black levels looked so much deeper (ILA on auto 2). City lights blazed with a realism against the blackness that the RS20 didn't approach. There were some shots of Jame' Cann's car driving up to the camera and stopping and the car looked so much more clear, sharp, solid and "real" than seeing those shots on the RS20. Far shots of James Cann in a parking lot that I noted looked a bit fuzzier on the RS20 looked distinctly more clear on the RS57. So it was no contest this time in the comparison of my new projector with the RS20 at my friend's place.

I also watched some of the UFC I recorded last night and some of the Olympics, e.g. luge, skiing, and some of the recent Grammys (Pink's acrobatic performance, which I keep using to test contrast and motion). I experimented with Clear Black on "high" as opposed to "low." In some content the "high" mode brought a bit too gritty look to the image, but in others this wasn't the case and it increased the image "pop" and contrast, e.g. on the Olympics, UFC and some of the Grammy performances. I also put the Clear Motion Drive into "high" rather than the "low" I usually use for some video content. The "high" mode was just fantastic insofar as even the most challenging motions of skiing, snowboarding and luge, not to mention UFC fighters, looked terrifically smooth and sharp and I saw no other artifacts or side-effects at all. So it's a hugely welcome addition to the tool-box IMO. I've certainly never seen the UFC look this clear and real in terms of sharpness and motion.

And, as I mentioned before, I'm still finding the high bulb mode less annoying than the high bulb modes of my previous projectors. When the bulb kicks into high mode for 3D I notice it at first, but it seems pretty easy to forget not long after. HDMI issues don't seem to be occuring either. All in all, it still seems like a great purchase thus far.
post #1155 of 1635
Greetings,

Great stuff Rich. Continue to offer your thoughts and enjoy your new projector. smile.gif


Regards,
post #1156 of 1635
Glad to hear you are happy with your purchase Rich.

My RS4910 has been sitting at my UPS depot all weekend with them being closed on the weekend but I should be able to pick it up tomorrow. I'm coming from a Sony HW50 (...RS45, RS2 clone) and am looking forward to the improvements. I know black levels will look better to me since the RS45 I had did a better job than the Sony HW50 so in that regards I should be in for a nice upgrade. Unlike most, I am more distracted by the typical lack of the smoothness look to 24fps content more than I am by the soap look the FI can induce. I'm hoping that JVC's CMD is actually better than Sony's motion flow. According to conan48 JVC's CMD displays higher resolution than Sony's motionflow. The CMD on the RS45 I had performed poorly with lots of artifacts and choppiness when there is fast movement in the image. The Sony was silky smooth with few artifacts (though from memory motion did get blurred depending on how fast movement was).
post #1157 of 1635
I wouldn't expect miracles of course with the new CMD. I expect there's only so much one can do in terms of motion with the LCOS panels as they are.
For content shot on video, e.g. Olympics etc, that are already shot at 60fps they already have the "smoother motion/video look." So the addition of CMD can be more subtle, which is one reason I cranked
it into high mode last night, to make a difference I could more readily perceive. It doesn't create some crazy-sharp image for everything no matter how fast they are moving (as I have seen in some frame interpolation
methods on some flat panels, though usually at the expense of a more artificial looking image in other respects). What I saw last night was just smoother, clearer motion overall with video sources with
no other alteration in the image, artifacts or otherwise, that I could see. (A couple times I thought I saw some image break up or stutter. But I stopped, rewound, turned CMD off, and it always turned out to be in the source
already, compression artifacts etc).

For movies shot at their lower frame rate, I find frame interpolation - in any display - makes a more distinct difference, where you get that change from "film" to "video" look. But like I've mentioned, I've found this year's CMD on low to
be more subtle in that respect.
post #1158 of 1635
Thanks for your furher thoughtful and interesting impressions, Rich.
post #1159 of 1635
Quote:
Originally Posted by R Harkness View Post

Am I the only one left still commenting on the image quality of these new JVCs? smile.gif

And on that note:

Last night I took the new Criterion Blu-Ray of Michael Mann's "Thief" to my buddy's house to watch on his projection set up. As I've mentioned before he uses my older JVC RS20 projector on a Grawolf 92 or 94" 16:9 screen (1.8 gain, gray based, retro-reflective - he isn't getting the full gain because his projector his high up and his screen is a bit too high, but he gets good brightness, similar to what I have at home on my ST130 screen).

One reason I enjoy watching movies at his place is the RS20. It puts out such a smooth, noise-free, high contrast yet film-like image. When I came home to my (now previous) RS55 projector I sort of missed that film-like look and in a way I felt like I was gaining and losing attributes with the RS55..though more in favor of the RS55 over all.

Last night there was that usual richness of the RS20 image in his set up that I admire. As usual, the black levels looked remarkably good to the point that at first I wondered if I'd really gained that much with the RS55/RS57. But that didn't last too long. His room is painted mostly blue and shows as "gray" when lights are off, behind the image. Perhaps this helped the perception of black levels to some degree. But in lower APL scenes especially, when I compared the black levels to the actual pitch black of his screen border, I could really see how the black levels were higher and more grayish. Essentially, in my set up, my entire room in front of me is as black as that border, which really used to show up the not-really-black levels of the RS20. (Hence, me always pining for even deeper black levels on a projector).

When I got home and put Thief on my new RS57 (at 105" diag) - what a difference! Pretty much every image parameter looked better, better clarity, contrast in all types of scenes, and FAR deeper black levels. It was like watching a different transfer of the movie - sharper, more real, more dynamic. And, again, even with pitch black surrounding the entire image the black levels looked so much deeper (ILA on auto 2). City lights blazed with a realism against the blackness that the RS20 didn't approach. There were some shots of Jame' Cann's car driving up to the camera and stopping and the car looked so much more clear, sharp, solid and "real" than seeing those shots on the RS20. Far shots of James Cann in a parking lot that I noted looked a bit fuzzier on the RS20 looked distinctly more clear on the RS57. So it was no contest this time in the comparison of my new projector with the RS20 at my friend's place.

I also watched some of the UFC I recorded last night and some of the Olympics, e.g. luge, skiing, and some of the recent Grammys (Pink's acrobatic performance, which I keep using to test contrast and motion). I experimented with Clear Black on "high" as opposed to "low." In some content the "high" mode brought a bit too gritty look to the image, but in others this wasn't the case and it increased the image "pop" and contrast, e.g. on the Olympics, UFC and some of the Grammy performances. I also put the Clear Motion Drive into "high" rather than the "low" I usually use for some video content. The "high" mode was just fantastic insofar as even the most challenging motions of skiing, snowboarding and luge, not to mention UFC fighters, looked terrifically smooth and sharp and I saw no other artifacts or side-effects at all. So it's a hugely welcome addition to the tool-box IMO. I've certainly never seen the UFC look this clear and real in terms of sharpness and motion.

And, as I mentioned before, I'm still finding the high bulb mode less annoying than the high bulb modes of my previous projectors. When the bulb kicks into high mode for 3D I notice it at first, but it seems pretty easy to forget not long after. HDMI issues don't seem to be occuring either. All in all, it still seems like a great purchase thus far.

I also owned the RS 20 and when I got the RS 45 I thought it was a big improvement in contrast and black level and overall had more image pop. I still have the 45 and saw the 4910 briefly (2 hours at Craigs) last week. My immediate impression was the biggest difference was a slightly brighter image and better blacks but thinking back on it I'm not so sure some of that was due to the "black cave" effect of Craig's room ( as mine still has grey side walls and only has black curtains around the screen and a black ceiling).
Rich- how would you compare the 57 to your 55? Maybe you have stated this before so sorry if I missed that.
post #1160 of 1635
Quote:
Originally Posted by xb1032 View Post

Glad to hear you are happy with your purchase Rich.

My RS4910 has been sitting at my UPS depot all weekend with them being closed on the weekend but I should be able to pick it up tomorrow. I'm coming from a Sony HW50 (...RS45, RS2 clone) and am looking forward to the improvements. I know black levels will look better to me since the RS45 I had did a better job than the Sony HW50 so in that regards I should be in for a nice upgrade. Unlike most, I am more distracted by the typical lack of the smoothness look to 24fps content more than I am by the soap look the FI can induce. I'm hoping that JVC's CMD is actually better than Sony's motion flow. According to conan48 JVC's CMD displays higher resolution than Sony's motionflow. The CMD on the RS45 I had performed poorly with lots of artifacts and choppiness when there is fast movement in the image. The Sony was silky smooth with few artifacts (though from memory motion did get blurred depending on how fast movement was).

Please let me know your thoughts on the 4910 3D vs the Sony also.
post #1161 of 1635
Rich
I know you don't do alot of 3D stuff but what are your impressions of it- in terms of ghosting and flicker ( also try it with and without the CMD) ?
I like 3D and if the JVC would have been close to the Epson 6030 in terms of ghosting and flicker I would have taken home Craig's demo 4910 last weekend (at a great price I might add). I wish I had more time to check out different settings on the EStar Cauldron glasses and been able to view more material. One thing I do like about my 45 is that the 3D constrast and depth of image is outstanding despite the ghosting (I don't have flicker issues- but maybe that is because of the lack of brightness) . As I was considering going the 2 projector route and searching the DLP choices for 3D it seems to me that I may not be happy with the contrast and depth of them (one chippers) so I may have to "settle" for the JVC.
post #1162 of 1635
JOE-C,

The main difference is the addition of the Intelligent Lens Aperture, and how it makes the black levels look deeper in the darkest scenes, vs the RS55.

3D is significantly improved over my RS55 with less ghosting/crosstalk, for an over all sharper and more calm image. As Zombie has pointed out, while you can get a cleaner 3D image by adding a cheaper DLP
projector for 3D, the RS57's contrast advantage is noticeable in 3D as well. Realistic black levels and contrast combined with a good 3D title can be a really incredible combination for making the movie come alive.
Prometheus being one example.

I also like the new Clear Black processing (usually on Low) which adds some nice clarity.

And the Clear Motion Drive is much better.

The MPC processing seems similar, but because it's so much more elaborate in terms of adjusting it's settings, I still haven't figured out the best setting or exactly what might be different from my R55's MPC settings.

How important all these are will vary between users of course. In my blacked-out viewing environment, any deepening of black levels is welcome so it's significant to me.
post #1163 of 1635
Quote:
Originally Posted by R Harkness View Post

JOE-C,

The main difference is the addition of the Intelligent Lens Aperture, and how it makes the black levels look deeper in the darkest scenes, vs the RS55.

3D is significantly improved over my RS55 with less ghosting/crosstalk, for an over all sharper and more calm image. As Zombie has pointed out, while you can get a cleaner 3D image by adding a cheaper DLP
projector for 3D, the RS57's contrast advantage is noticeable in 3D as well. Realistic black levels and contrast combined with a good 3D title can be a really incredible combination for making the movie come alive.
Prometheus being one example.

I also like the new Clear Black processing (usually on Low) which adds some nice clarity.

And the Clear Motion Drive is much better.

The MPC processing seems similar, but because it's so much more elaborate in terms of adjusting it's settings, I still haven't figured out the best setting or exactly what might be different from my R55's MPC settings.

How important all these are will vary between users of course. In my blacked-out viewing environment, any deepening of black levels is welcome so it's significant to me.

How about flicker- do you notice it ?
post #1164 of 1635
I don't notice any flicker in 3D. I wouldn't even have thought to look for it to be honest.
post #1165 of 1635
Quote:
Originally Posted by JOE-C View Post

Please let me know your thoughts on the 4910 3D vs the Sony also.

Will do. Assuming the IR emitter that worked with the RS45 works with the 4910 I'll try out 3D also. I plan on buying an RF emitter and new glasses too but I'm wondering if I can purchase a non-JVC emitter and what glasses work best (for a reasonable price). I'll probably get a pair of the Xpand X105s and maybe something else.
post #1166 of 1635
Quote:
Originally Posted by xb1032 View Post

Will do. Assuming the IR emitter that worked with the RS45 works with the 4910 I'll try out 3D also. I plan on buying an RF emitter and new glasses too but I'm wondering if I can purchase a non-JVC emitter and what glasses work best (for a reasonable price). I'll probably get a pair of the Xpand X105s and maybe something else.

So far the splitter cable I'm using with both the original IR & eight x104's (and two USB IR JVC's), along w/ the OEM RF transmitter and two new x105's have been flawless (I really like the lighter weight & wider peripheral view with the x105's!). smile.gif
Edited by krichter1 - 2/17/14 at 11:58am
post #1167 of 1635
Quote:
Originally Posted by R Harkness View Post

Am I the only one left still commenting on the image quality of these new JVCs? smile.gif

And on that note:

When I got home and put Thief on my new RS57 (at 105" diag) - what a difference! Pretty much every image parameter looked better, better clarity, contrast in all types of scenes, and FAR deeper black levels. It was like watching a different transfer of the movie - sharper, more real, more dynamic.

I also watched some of the UFC I recorded last night and some of the Olympics, e.g. luge, skiing, and some of the recent Grammys (Pink's acrobatic performance, which I keep using to test contrast and motion). I experimented with Clear Black on "high" as opposed to "low." In some content the "high" mode brought a bit too gritty look to the image, but in others this wasn't the case and it increased the image "pop" and contrast, e.g. on the Olympics, UFC and some of the Grammy performances. I also put the Clear Motion Drive into "high" rather than the "low" I usually use for some video content. The "high" mode was just fantastic insofar as even the most challenging motions of skiing, snowboarding and luge, not to mention UFC fighters, looked terrifically smooth and sharp and I saw no other artifacts or side-effects at all.

And, as I mentioned before, I'm still finding the high bulb mode less annoying than the high bulb modes of my previous projectors. When the bulb kicks into high mode for 3D I notice it at first, but it seems pretty easy to forget not long after. HDMI issues don't seem to be occuring either. All in all, it still seems like a great purchase thus far.

Low APL is where I think everyone agrees this machine just shines and in my case being about ⅔ back on throw my on/off is just ridiculous at times.

To your point about the Grammys & Olympics they looked just fantastic w/ ClrBlk & CMD on low & Darbee at around 15% (-7 aperture & ILA=Low2). However I find I just cannot watch BD/2D with CMD turned on as no matter how I adjust MPC I find it's just too soap opera-ee for my tastes and loses that smooth filmic look I prefer (the Clear Black brings out that DLP like sharpness I've been yearning for since my Sharp 20K days). However for BD/3D CMD seems to do the trick to tame any detectable flicker/judder and looks really great on live sporting events (and as I reported early on the High lamp is louder but the lower pitched fan makes it disappear under normal to higher audio levels). smile.gif

Also I've all but finished my weekend project of decrypting the new 2014 Hex Remote code translation guide (using my decoder ring), and can share whatever you all need but will pass on to Gary this week for further QA testing (I'm creating the custom iRule buttons tonight in Photoshop so as to test out the rest myself). They would of course be passed on to you to use at your own risk! It is cool to be able to change Lamp/ClrBlk/CMD/gamma/ILA & Aperture settings with one button so far though… well worth the work IMO (I may even create a few more advanced macro buttons in iRule to change all these settings at one touch convenience in order to create my own custom user modes (all without OSD menu interruption!). wink.gif
post #1168 of 1635
One thing I forgot to mention: I've been having a frustrating time trying to keep my 3D glasses synced with the projector.
Of the 3 RF glasses, only 2 have synced - one doesn't want to sync at all - and the other two are acting reluctant too.

Is it normal to have to press the power button every time you use the 3D glasses? (I don't think I did with my RS55 and IR glasses). And is it normal to have to press more than once to sync?
(This is weird because it's RF that is supposed to provide the greater reliability, whereas I never had problem with the RS55 IR system).
post #1169 of 1635
Quote:
Originally Posted by krichter1 View Post

...Also I've all but finished my weekend project of decrypting the new 2014 Hex Remote code translation guide (using my decoder ring), and can share whatever you all need...

Please do if you don't mind. I'll have to update my iRule as well after I get my projector. After this purchase all my devices will controllable via IP biggrin.gif.
post #1170 of 1635
krichter1

I've only used CMD on one movie, World War Z. But other than that I don't find it needs CMD as the motion is excellent for movies and I don't like the SOA either.

My RTI remote is finally being programmed with the new RS57 commands on Tuesday, so yes, please send me any codes you've worked out. The ones you listed sound great!

Rich
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