NEW JVC RS3000/NX9 RS2000/N7 RS1000/N5 Native 4K Projectors Anticipation Thread - Page 115 - AVS Forum | Home Theater Discussions And Reviews
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post #3421 of 13667 Old 09-09-2018, 01:46 PM
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Quote:
Originally Posted by noah katz View Post
Some years back it was discovered that some pj's were losing brightness due to hazy deposits, speculated to be from outgassing plastic, that when cleaned would restore brightness.






There's more than a few of us.

Now I wonder if it will ever happen; by the time laser cost is reduced enough, 2k chip fab lines may have been retired.

Did any of you guys who attended CEDIA happen to ask JVC about the future of their 2k chips?
Was not specifically asked, but I can tell you, they are going away. Also I would expect native contrast to slowly improve over the years, just like it did with the 1080P chips.
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post #3422 of 13667 Old 09-09-2018, 01:49 PM
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Originally Posted by Bytehoven View Post
I can help but wonder if the newly updated lense in the n5 and n7, aren't the hand picked lenses that should have gone into the 640 and 990? If not, there has never been an explanation for the drop in quality from the 620 and 9500.

Looking closely at the 9500, it definitely looks better in a away that suggests it would resolve the 4k panel like the n5.
No, should be even better on average. The tolerances are now tighter and the QC has been improved.
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post #3423 of 13667 Old 09-09-2018, 01:51 PM
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Originally Posted by DLCPhoto View Post

If this is correct (a big if, I might add), then how does this work when all of a sudden the incoming image is now 16:9? I would think that somehow the processing has to change, or you would lose the added upper and lower content of the movie, where the previously black upper/lower bars now have content.
Nothing changes - the IMAX parts just occupy the black bar are and are treated the same as black bars - the image whether it's 16:9, 1.85:1, 2.20:1, 2.00: 2.35:1 etc are all stored in the 16:9 Blu Ray container, the aspect ratios are kept as the same width and the rest is just black bars of varying height (depending on the aspect ratio of the movie).

If you use a lens with a 2.20:1 movie for example, you lose a little of the image top and bottom for example. For those you need a scaler or have to remove the lens and zoom the image to fit the top and bottom to the screen. That's how I watch the aspect changing movies (remove the top and bottom masking from a 16:9 screen which is semi permanently masked to 2.40 for CIH - 1.85 etc are watched the same height as scope, only IMAX is taller).

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post #3424 of 13667 Old 09-09-2018, 01:54 PM
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Originally Posted by DLCPhoto View Post
Excuse the slight thread-jack, but how exactly does your A-lens work around the conundrum of shifting aspect ratio movies?

See my post down thread a bit, where I'm wondering about going with an N7 with A-lens, for the same or hopefully a bit less cost than an NX9 (obviously without an A-lens). Your thoughts on which might be the better use of fairly significant dollars appreciated!
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Originally Posted by DLCPhoto View Post
Looks like you're taking the *opposite* approach that I'm wondering about!

As for the A-lens: as I visualize this (and I may be completely wrong) the Projector is processing the 2.35:1 incoming image, so that all of the available pixels are being used on the chip, rather than having the upper/lower part of the chip effectively unused and occupied by black pixels. That 16:9 aspect ratio chip output then needs to have the image 'stretched' out to fill the 2.35:1 screen, effectively restoring the original aspect ratio of the original content. This is what the A-lens would take care of.

If this is correct (a big if, I might add), then how does this work when all of a sudden the incoming image is now 16:9? I would think that somehow the processing has to change, or you would lose the added upper and lower content of the movie, where the previously black upper/lower bars now have content.

(And, as a retired ophthalmologist, I love your user name!)
Your understanding is correct. I expect you would lose the added upper and lower content, where the previously black bars now have content. I haven't tried it with my lens to confirm, as with my High Power 2.8 screen I don't need the brightness with my current projector, and don't use it much, which is why I'll be selling it. I go back a ways and mostly used it with a very, very old NEC projector, replaced by a very old Panasonic projector, before my present simply old Panasonic projector. I'm one of those guys who upgrades only every 7 or 8 years and just watches movies in the meantime.

In any case, multiple aspect ratio movies are a pain. They only work on a 16:9 screen, letter boxing the wide screen sections, and vertically expanding as they do in the theaters. Maybe we all need IMAX screens at home.

PS Thanks for the comment on my user name. I'm a part time musician as well and felt entitled to steal it from Jackson Browne due to my career choice

Sorry everyone else, who found this off content.
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post #3425 of 13667 Old 09-09-2018, 02:00 PM
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Originally Posted by Gary Lightfoot View Post
Nothing changes - the IMAX parts just occupy the black bar are and are treated the same as black bars - the image whether it's 16:9, 1.85:1, 2.20:1, 2.00: 2.35:1 etc are all stored in the 16:9 Blu Ray container, the aspect ratios are kept as the same width and the rest is just black bars of varying height (depending on the aspect ratio of the movie).

If you use a lens with a 2.20:1 movie for example, you lose a little of the image top and bottom for example. For those you need a scaler or have to remove the lens and zoom the image to fit the top and bottom to the screen. That's how I watch the aspect changing movies (remove the top and bottom masking from a 16:9 screen which is almost [ermanently masked to 2.40 for CIH - 1.85 etc are watched the same height as scope, only IMAX is taller).
Thanks, Gary.

If the IMAX parts now occupy the black bar, then they will be effectively removed from the output, accomplishing in a different way what I currently do when I use a mask setting for these movies.

When Mike alluded to this not being a problem when he uses his A-lens, I had the impression that somehow he would have the best of both worlds, and not have the added vertical content removed from the output. If this is the case, then I still don't understand how this can be accomplished. But I may have misunderstood what he meant, and the added vertical content in the IMAX scenes are lost with his A-lens use, just as they are with masking.

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post #3426 of 13667 Old 09-09-2018, 02:04 PM
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This thread sure moves fast! By the time I typed my response several others had already posted.
The question of whether an anamorphic lens is worthwhile or not is tied together with how big your screen is, what its gain is, and how bright your projector is. In my case, no longer, in someone else's room quite possibly.
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post #3427 of 13667 Old 09-09-2018, 02:04 PM
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Originally Posted by DLCPhoto View Post
Thanks, Gary.

If the IMAX parts now occupy the black bar, then they will be effectively removed from the output, accomplishing in a different way what I currently do when I use a mask setting for these movies.

When Mike alluded to this not being a problem when he uses his A-lens, I had the impression that somehow he would have the best of both worlds, and not have the added vertical content removed from the output. If this is the case, then I still don't understand how this can be accomplished. But I may have misunderstood what he meant, and the added vertical content in the IMAX scenes are lost with his A-lens use, just as they are with masking.
Exactly
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Originally Posted by elmalloc
Who says Cameron is "right" and why do we care about him so much - lol!

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post #3428 of 13667 Old 09-09-2018, 02:09 PM
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Originally Posted by grendelrt View Post
The N5 does not have a lens iris? I currently use a HW55ES that I use the auto limited feature that you set the closure of the lens and the auto iris will not open higher than this. I was under the impression you can do similiar using the lens iris and auto lens on a JVC.
He is referring to a second iris. The RS1000 has a manual iris and offers much more adjustment than your current projector. The iris also operates dynamically.
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post #3429 of 13667 Old 09-09-2018, 02:11 PM
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Originally Posted by Gary Lightfoot View Post
Exactly
OK, then, one mystery solved!

I next need to figure out if the DCR lens would be feasible given my setup (160" diagonal 2.35:1 1.3 gain screen, 17' 2" throw), and if or how it could be installed (my RS400 is now hanging from a ceiling beam - there is a cathedral ceiling in this room.

But I've got a few months to research this while we wait to see if the production units live up to the encouraging first impressions!

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post #3430 of 13667 Old 09-09-2018, 02:13 PM
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Originally Posted by DLCPhoto View Post

But I've got a few months to research this while we wait to see if the production units live up to the encouraging first impressions!
Yep, you have a pretty nice unit already that throws a great picture
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post #3431 of 13667 Old 09-09-2018, 02:13 PM
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Originally Posted by enricoclaudio View Post
All 4K Native projectors from Sony and JVC are 4096x2160. Only e-shifters projectors are UHD (3840x2160).
So if one is using madvr with the new projectors should the video card be set to 4096x2160 rather than 3840x2160 which I have set for my X9900?
If this is the case how is 4:3 material look?
16:9 takes on a more cinema look of 185.1 I supose
And if we are using an IscoIII is the ratio different to the normal 2.35?

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post #3432 of 13667 Old 09-09-2018, 02:14 PM
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Originally Posted by doctormyeyes View Post
Correct, that is my question. Do we know if the n7 maintains the dual iris? Is it now on the n5 as well as the JVC rep appeared to imply in the video?
single iris on RS1000 and dual iris on RS2000 and RS3000.
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post #3433 of 13667 Old 09-09-2018, 02:15 PM
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Originally Posted by HoustonHoyaFan View Post
That is a flat out lie.

I reached out to my Sony Pro contacts given that my new startup is about to make a significant commitment to the GTZ240 for our new visualization product. At CEDIA, Sony presented a slide showing contrast of their DCI Projector which starts at 10,000:1. This product which is used in commercial cinemas uses a different panel, the 1.48" SXRD. The consumer SXRDs are .74" and produce native contrast of 20,000:1 depending on model.

Kris Deering published in his VW885es review:

In my experience, Sony's projectors have always been in what I would call the upper-middle of the pack when it comes to native contrast performance (that is, the maximum dynamic range of the projector without the help of a dynamic contrast feature). This projector measured right in line with previous SXRD designs (approximately 15,000:1 native contrast ratio).


https://www.soundandvision.com/conte...ojector-review

If you or any of the other dealers here had the contacts you often boast about a simple question during the presentation or outreach afterwards would have cleared up any concerns.
Ask someone that was there at the meeting. Kris posted that he has recently calibrated four different 885's and he got 10,000;1. You can search for the post or you can just contact Kris and ask him. You can also contact Chadb and ask him what he is seeing for native contrast.

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post #3434 of 13667 Old 09-09-2018, 02:21 PM
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Originally Posted by Mike Garrett View Post
He is referring to a second iris. The RS1000 has a manual iris and offers much more adjustment than your current projector. The iris also operates dynamically.
Does a single iris on the jvc have the ability to set iris to say 25% open and then enable the dynamic iris but it be limited to open Max 25% open?

Edit: Found this thread, setting Auto2 with an aperature of -10 or so sounds like what I am looking for on a single iris.
https://www.avsforum.com/forum/24-di...n-writeup.html

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post #3435 of 13667 Old 09-09-2018, 02:21 PM - Thread Starter
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Originally Posted by Javs View Post
Made a new Quick Brown Fox pattern for 1080p if anybody is interested to evaluate your own units in whatever mode.

I think the 1080p one could be interesting to see scaling.

1080p



4K



720p

Nice one!

I'm going to be carrying out comparative scaling testing in my in-depth reviews of the new projectors so I will definitely try these out! Thanks!


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post #3436 of 13667 Old 09-09-2018, 02:24 PM
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Originally Posted by doctormyeyes View Post
This thread sure moves fast!
...
Yep, there was obviously a lot of interest in this new JVC line.

I did my roughly once a decade major upgrade a year too soon. Oh well.

But I have much enjoyed the RS640 over the RS35 over the last year. Warts and all. (Thank you, Mike G.)

I will seriously consider buying either the RS2000 or RS3000 level model next year after only two years on this one rather than waiting another decade.

The 4500 was just out of my reach, without sacrificing on too many other areas. (Such as this year's Marantz SR8012 and putting the four SVS Prime Elevations on the ceiling to move from 7.2 to 7.2.4. And even finally adding an SVS sub to the bedroom setup.) The RS3000 hits the price point I can do. If I should decide it's worth the delta to me versus the RS2000.

In general, I like just about everything I've read about this new line in this thread. And look forward to next year's thread on this topic.
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post #3437 of 13667 Old 09-09-2018, 02:30 PM - Thread Starter
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Originally Posted by lovingdvd View Post
When you say you have seen 2 units of the RS3000/NX9 - are you saying there are two physical units that you have observed? I thought there was only one, and the one shown at IFA was the same as the one shown at CEDIA?
The JVC RS3000/NX9 pre-production unit shown at CEDIA is a different unit to the one shown at IFA = 2 different units

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post #3438 of 13667 Old 09-09-2018, 02:44 PM - Thread Starter
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Originally Posted by Bytehoven View Post
I can help but wonder if the newly updated lense in the n5 and n7, aren't the hand picked lenses that should have gone into the 640 and 990? If not, there has never been an explanation for the drop in quality from the 620 and 9500.

Looking closely at the 9500, it definitely looks better in a away that suggests it would resolve the 4k panel like the n5.
The 'drop in quality' that you are seeing in the images posted by @Javs are more to do with the differences between eShift4 and eShift5 than they are to do with the lens. The lenses are exactly the same, with the same inter-unit variance. But with respect to eShift5 the vanilla state without any use of the enhance feature is such that the image is in fact slightly softer as compared with the eShift4 image with overall slightly lower MTF, whilst at the same time producing an increase with respect to some detail delineation, which you can clearly see with respect to the differences in the rendering of the text in those images. Therefore, this is in fact due to the difference in video processing, not the lens

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post #3439 of 13667 Old 09-09-2018, 02:59 PM - Thread Starter
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Originally Posted by Buddylee123 View Post
I thought Arrow said that he talked to JVC at IFA and they said that bright corners couldn’t be eliminated at this price point with the tech they use? I could be wrong because I have read a lot of posts on here
When the question was asked whether or not JVC had taken action specifically with respect to the purpose of eliminating the bright corners issue, the answer provided was "no". However, this does not necessarily mean that the bright corners still exist nor that they have not been improved indirectly.

So far, I have seen 2 number RS3000/NX9 units and 1 number RS2000/NX5/N5 unit, and none of these have bright corners. However, whilst encouraging this also does not necessarily mean that they have been eliminated. We will only truly discover what's what in this regard when many more units have been examined for bright corners. I will be able to contribute at least a further 15 number units towards this imminently, just as soon as I receive delivery.

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post #3440 of 13667 Old 09-09-2018, 03:00 PM
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Originally Posted by Craig Peer View Post
Just so there is no confusion about this -

" New compatibility with Sony and JVC announced at CEDIA.

I'm happy to announce and confirm that all new 4K/4096 cinema resolution projectors from Sony and JVC will include the full modes for using our Paladin and Paladin DCR lenses for 4K/4096 anamorphic cinemas. Sony VPL 4K projectors will include the same modes as in the VW885ES/VW760ES in the full line including VW295ES, VW695ES, VW885ES, VW995ES and VW5000ES. JVC 4K projectors will initially have an "Anamorphic C" mode for the Paladin DCR in the RS1000, RS2000, RS3000 and similar Procision models of NX5, NX7 and NX9. They will initially use the default "Anamorphic B" mode for 16:9 content with the fixed Paladin or Paladin DCR but will likely have a later firmware update for more accurate formatting of 16:9 content using the Paladin DCR lens.

In somewhat of a celebration of this news the Panamorph B-Stock sale advertised on the AVS Forum has been extended until September 14. "

https://www.avsforum.com/forum/86-ul...l#post56780556



Ordered one last Thursday as soon found out these new JVCs supported DCR on board.

Lol, would normally like to wait till had projector, but great b stock sale, and your experience with your Paladin DCR help me feel more comfortable pulling trigger.



1.1 gain 135" 169 masked down to scope. Looked at studiotek 130 but personally couldn't take sparkles
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post #3441 of 13667 Old 09-09-2018, 03:01 PM
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Originally Posted by RapalloAV View Post
So if one is using madvr with the new projectors should the video card be set to 4096x2160 rather than 3840x2160 which I have set for my X9900?
If this is the case how is 4:3 material look?
16:9 takes on a more cinema look of 185.1 I supose
And if we are using an IscoIII is the ratio different to the normal 2.35?
Probably you can use either 4096x2160 or 3840x2160. I think the projector is likely to show both with 1:1 pixel mapping. Of course when using 3840x2160, 256 pixel columns will stay unused. Make sure you double check with a test pattern that you really do get 1:1 pixel mapping. And don't worry about aspect ratios. Of course madVR will handle it correctly in any case. If you use 4096x2160, madVR knows that the screen ratio is not 16:9 but 1.8963 instead, and adjust everything accordingly.

Using an Isco won't change anything. The compression ratio will be the same.
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post #3442 of 13667 Old 09-09-2018, 03:10 PM
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TI DLP chips are 2716 x 1528 pixels native resolution x 2 = 8.3 million pixels at 16:9
This is the point I making but the focus is on the trees and not the Forrest.
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post #3443 of 13667 Old 09-09-2018, 03:21 PM
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TI is not using a UHD chip. They are pixel shifting to get to 4K. If TI was able to get decent native contrast, then I would say they got it right. They also would have grabbed a huge share of the market back.
The point that is being put forward is that TI selected a resolution that gives a clean 16:9 aspect ratio while JVC et al decided to use 17:9, therefore the user has to choose either loss of sharpness or loss of brightness unless a custom lens is used at additional cost.

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post #3444 of 13667 Old 09-09-2018, 03:30 PM
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The point that is being put forward is that TI selected a resolution that gives a clean 16:9 aspect ratio while JVC et al decided to use 17:9, therefore the user has to choose either loss of resolution or loss of brightness unless a custom lens is used at additional cost.
There's no loss of resolution if you are viewing UHD discs since they are authored at the 3860x2160. In reality, you are watching them stretched out to fit the 17:9 for additional brightness but slightly distorted (7% I believe). If you are picky about distortion then watch them at 1:1 and use a 1.33X lens like the ISCOIIIL and you will not lose anything.
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post #3445 of 13667 Old 09-09-2018, 03:30 PM
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Hey Mike
Matt wants to be living in his new house... not the dog house!

Correct!
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post #3446 of 13667 Old 09-09-2018, 03:32 PM
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Originally Posted by bobof View Post
It doesn't much matter when you have high native contrast, unless:
1) the difference in throw vs the previous generation is a problem (it is for some, perhaps me included)
2) you were counting on the extra lumens you were sold and can't actually use.

For what it is worth the TI chips aren't quite 16:9 either - they have a "pond of mirrors" around the outside of the 16:9 area which aren't controllable but have to be powered. In the 16:9 0.66" UHD chipset this is 56 mirrors wide top / bottom and 20 mirrors wide left/right. The Pond of Mirrors area on a DLP is much, much brighter than the innactive 4K DCI pixels will be.

Plus of course it depends on XPR shifting tech.
Number 2 is the source of my frustration, I need to light up a 150” low gain woven screen and need every lumen that can be squeezed from the projector.
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post #3447 of 13667 Old 09-09-2018, 03:36 PM - Thread Starter
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Originally Posted by Mike Garrett View Post
You need to correct your statement. No one has measured an RS2000 (N7) so they can't say what it is. What you mean is some have guessed. But I am pretty sure that is a wrong guess. Also 16,000 - 20,000:1 is not the number that Sony posted on screen at their presentation Wednesday. They posted native of 10,000:1 for all of their SXDR 4k projectors. Same number that Kris Deering reported and got run off the forum for reporting in the Sony thread.
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Originally Posted by HoustonHoyaFan View Post
That is a flat out lie.

I reached out to my Sony Pro contacts given that my new startup is about to make a significant commitment to the GTZ240 for our new visualization product. At CEDIA, Sony presented a slide showing contrast of their DCI Projector which starts at 10,000:1. This product which is used in commercial cinemas uses a different panel, the 1.48" SXRD. The consumer SXRDs are .74" and produce native contrast of 20,000:1 depending on model.

Kris Deering published in his VW885es review:

In my experience, Sony's projectors have always been in what I would call the upper-middle of the pack when it comes to native contrast performance (that is, the maximum dynamic range of the projector without the help of a dynamic contrast feature). This projector measured right in line with previous SXRD designs (approximately 15,000:1 native contrast ratio).


https://www.soundandvision.com/conte...ojector-review

If you or any of the other dealers here had the contacts you often boast about a simple question during the presentation or outreach afterwards would have cleared up any concerns.
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Originally Posted by Mike Garrett View Post
Ask someone that was there at the meeting. Kris posted that he has recently calibrated four different 885's and he got 10,000;1. You can search for the post or you can just contact Kris and ask him. You can also contact Chadb and ask him what he is seeing for native contrast.
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Originally Posted by David Mathews View Post
Lol, I think I heard the kids next door

10! 15! 10! 15! 10! 15!

Kris, we hope you come back but feel you pain
My two cents:

@Mike Garrett is not lying in saying: "Also 16,000 - 20,000:1 is not the number that Sony posted on screen at their presentation Wednesday. They posted native of 10,000:1 for all of their SXDR 4k projectors". SONY did indeed do that. However, personally, I think that SONY did so by mistake and just because SONY posted 10,000:1 in one singular presentation for the press does not make it reality. I believe whoever put the slides together for that particular press presentation muddled the figures with those that are applicable to SONY's new D-Cinema laser projectors, namely the SRX-R815P and SRX-R815DS... "Contrast Ratio: 10,000:1"

Personallly, I have both calibrated and measured now a considerable number of units of SONY's SXRD home theater/cinema projectors and whilst the native ON/OFF contrast performance of the video panel/chipset itself is indubitably the same with respect to all the models that use the same panel, the actual performance of the projectors themselves varies slightly from model to model, but not considerably so.

An issue with calibrating the SONY projectors is that contrast is lost easily and quickly when calibratiing accurately including to D65 white balance. Furthermore, there exists quite a lot of interunit variance. And with respect to the SONY 885/760ES I have typically measured native ON/OFF post-calibration to be within the range 10,000 - 15,000:1. The better units will be towards the high end, but the majority fall within the lower end of this range when calibrated to less than 2% dE accuracy and D65.

That said, it is possible to free up additional light via the service menu, which again is variable to what extent from unit to unit, the result of which is the due to the higher white level, with the black level remaining essentially the same, this achieves the slightly higher native ON/OFF contrast performance accordingly. Furthermore, you can reduce the contrast loss with calibration by deliberately calibrating slightly imperfectly.

Either way, given that the perception of contrast in this regard is logarithmic some folks might not be able to perceive the difference between 10,000:1 and 15,000:1 ON/OFF contrast anyway, so seriously this is just not worth arguing about!

Furthermore, let's all be optimistic and assume that the native ON/OFF contrast performance of the SONY 885/760ES is 15,000:1 and the max dynamic contrast ON/OFF is 23,000:1. Well the new JVC DLA-RS3000/NX9 is 100,000:1 max native ON/OFF and 1,000,000:1 max dynamic contrast ON/OFF, which is circa 7 times higher max native ON/OFF and circa 43 times higher max dynamic ON/OFF. And with respect to the performance brightness matched (as opposed to max figures that relate to hardly any light output with the JVCs) we will still be seeing 2-3 times the native ON/OFF contrast performance and probably circa 13-20 times the dynamic contrast ON/OFF with the JVC as compared with the SONY. Now 13-20 times the ON/OFF contrast you will most certainly perceive the difference! Whereas arguing over whether or not the SONY can do 10,000:1 or 15,000:1 native ON/OFF is semantics. The new JVC projector still absolutely nails the SONY balls to the wall as far as contrast performance is concerned. So like I said, seriously this is just not worth arguing about

That said, I should add that historically, whilst JVCs published measurements are typically accurate, the same cannot be said for SONYs. I can list many examples, such as the 1100ES where SONY claimed 1,000,000:1 max dynamic ON/OFF where the most I or any other reputable AV professional ever actually measured was/is circa 300,000 - 340,000:1. And I can say with certainty that you will not be typically measuring native ON/OFF contrast in the range 16,000 - 20,000:1 with any SONY projector that has been accurately calibrated to D65.

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Last edited by ARROW-AV; 09-11-2018 at 12:41 PM.
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post #3448 of 13667 Old 09-09-2018, 03:37 PM
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Originally Posted by Javs View Post
Correct!
Would have to be a pretty big dog to fit his screen
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post #3449 of 13667 Old 09-09-2018, 03:42 PM
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Originally Posted by LumenChip View Post
Folks, we now have a lens that has been precertified by Javs, this is a major milestone.

This N7 lens seem good enough, it is doubtful that there is any added value in getting the N9 just for the lens when working with a woven screen. The added light output is a different story, I can use the extra 300 lumens though I bet the N5 will be similarly bright due to the lack of lens iris. Decisions, decisions, decisions, decisions!
Not so fast buddy! Well see about that, those stamps dont just get handed out that easily!

I would be happy with the lens sample of the images Nigel shared though, it definitely looked quite acceptable to me. I also would still be itching in the back of my mind for the NX9 lens though for a purchase the next go around, I think in a couple years I will look at whats available at the NX9 level. By then I should have a new house and a large built theatre.

I am still very keen to see the NX7 to see if I can actually rather clearly see the 4k pixel structure in that lens. I am hoping so. I dont actually clearly see any in the curent shared photos, maybe the pixel gap is too small now.
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post #3450 of 13667 Old 09-09-2018, 03:46 PM
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Originally Posted by LumenChip View Post
Number 2 is the source of my frustration, I need to light up a 150” low gain woven screen and need every lumen that can be squeezed from the projector.


Paladin DCR 38% bump from using all these unused pixels that would just be sitting there dark. Most significant are the unused pixels in letter box. Useing the few extra pixels on sides is just icing on the cake.
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