Originally Posted by GetGray
I've always considered ANSI as just a worst case Intrascene, but the same thing basically. On-Off vs ANSI is the argument I'm used to. What do you mean by Intrascene vs ANSI?
You are right, Intrascene contrast in lower apl content is what I should have referred to. The Sony will only pull ahead measurably at about 4% APL which is actually kinda somewhat bright. Below that the JVC is way better and clearly visible.
This actually makes up for a lot of content in films, not just sci-fi.
Such is to say the JVC having really high on/off is not where it ends.
Here is my old X7000 (RS500) at various APL levels... You will see that basically around 2% APL is the best the Sony will do even at zero. And it ramps up from there.
This was my JVC at what I call minimum throw, so, closest possible distance to the screen, not long throw. Not sure if that lines up with Zoom Max as PD's chart below... anyway.
LOW LAMP -15
0% - 112,307:1
1% - 73,000:1
2% - 20,277:1
3% - 7,643:1
4% - 3,518:1
LOW LAMP -0
0% - 22,750:1
1% - 22,377:1
2% - 10,073:1
3% - 4,105:1
4% - 2,363:1
Here is a 520ES measured by Projection Dream, now I dont have the same patterns as them, but it should be somewhat comparable.
Here is a great article from Projection Dream who analysed a bunch of films for APL levels, the results are interesting.
Art of Flight for eg, which is what I would consider a DARN bright movie, only came out to be an average of 32%APL!