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Official JVC RS3000/NX9 - JVC RS2000/NX7/N7 - JVC RS1000/NX5/N5 - Owners Thread

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#1 · (Edited)


JVC PROJECTORS AND ACCESSORIES


DOWNLOADS | USER MANUAL, AUTO-CALIBRATION SOFTWARE & FIRMWARE UPDATES:

https://www3.jvckenwood.com/english/download/

RECOMMENDED 3D GLASSES = XPAND-X105-RF-X1

http://www.us.jvc.com/projectors/
http://pro.jvc.com/prof/attributes/category.jsp?productId=PRO6.1

Press Release (12/6/2018)
http://pro.jvc.com/pro/pr/2018/consumer/cedia_2018_release.html



DLA - NX9 / RS3000



http://www.us.jvc.com/projectors/procision/dla_nx9/
http://pro.jvc.com/prof/attributes/features.jsp?model_id=MDL102550

Product Overview:

http://pro.jvc.com/prof/attributes/features.jsp?model_id=MDL102550&feature_id=01

Specs:

http://pro.jvc.com/prof/attributes/specs.jsp?model_id=MDL102550&feature_id=03

Brochures:

http://www.us.jvc.com/projectors/pdf/dla_nx9.pdf
http://pro.jvc.com/pro/attributes/dila/brochure/dlars3000web.pdf

Tech Docs:

http://pro.jvc.com/prof/attributes/inst_man.jsp?model_id=MDL102550&feature_id=11

Features:

- Complies with HDMI 2.0b/HDCP 2.2 standard to enable full spec 4K signal input with 18Gbps transmission band-width (4K60P 4:4:4, 4K60P 4:2:2/36-bit, 4K24P 4:4:4/36-bit)

- Light source: NSH 265 W lamp

- Resolution: 8192 x 4320 (with 8K/e-shift)

- Input connectors: HDMI x 2 (3D, Deep Color/HDCP 2.2)

- Output and control connectors: RS-232C (D-sub 9pin) x 1, LAN (RJ-45) x 1, Trigger x 1 (Mini jack), 3D Sync x 1 (Mini-DIN 3pin)

- 3D formats: Frame Packing, Side-by-Side (Half), and Top and Bottom

- JVCs proprietary 8K/e-shift technology reproduces image quality beyond 4K** (The projector does not support 8K signal input)

- New 0.69-inch 4K D-ILA (4096 x 2160) device x 3

- 18-element, 16-group all-glass 100mm diameter high-quality lens

- Multiple Pixel Control image processor accurately reproduces images closer to the original

- High brightness of 2,200 lm provides vibrant and dynamic imagery

- Native Contrast Ratio of 100,000:1 translates to a spectacular Dynamic Contrast Ratio of 1,000,000:1

- Wide Color Gamut above exceeds DCI/P3 spec creating saturated, beautiful images that come to life

- Compatible with HDR technology that dramatically improves image quality that rivals real life.

- Auto Tone Mapping function automatically adjusts settings for optimum HDR10 image quality

- For easy reproduction, the projector switches automatically to HDR picture mode when HDR10 signals are received

- Display the MaxCLL and MaxFALL mastering data available for HDR content on some UHD Blu-ray discs

- Compatible with Hybrid Log-Gamma that is expected to be used widely in future broadcasting

- Installation Mode centrally manage nine settings related to installation to enjoy video best suited for each environment

- Nine settings of Installation Mode include Lens Control, Pixel Adjustment, Mask, Anamorphic on or off, Screen Adjust, Installation Style, Keystone, Pincushion, and Aspect; stored installation modes for various environments can be called up.

- Renewed Clear Motion Drive supporting 4K60P (4:4:4) signal improves moving images more than ever

- Motion Enhance technology reduces residual images and blurring that are often found in fast-moving images by optimally controlling the drive of D-ILA devices

- Low Latency Mode suppresses display delay for faster response when receiving signals from PC and game consoles

- Color Management System with 6-axis Matrix

- Auto-Calibration Function using an optical sensor* is capable of optimizing essential elements in the image, including color balance, gamma characteristics, color space and color tracking

- THX 4K Display Certification to ensure the precise reproduction of picture quality in 4K content, just as the original filmmaker envisioned.

- ISF C3 (Certified Calibration Controls) mode** to reproduce excellent picture quality optimized for specific environments.

- Wireless transmission options for 3D viewing: RF (radio frequency) system transmission with PK-AG3 3D Glasses for 100H continuous operation and PK-EM2 3D Synchro Emitter

*Exclusive JVC software installed in PC and optical sensor are required. Please visit the JVC website for details.
**Professional calibration to desired screen is performed by trained dealers



DLA - NX7 / RS2000



http://www.us.jvc.com/projectors/procision/dla_nx7/
http://pro.jvc.com/prof/attributes/features.jsp?model_id=MDL102549

Product Overview:

http://pro.jvc.com/prof/attributes/features.jsp?model_id=MDL102549&feature_id=01

Specs:

http://pro.jvc.com/prof/attributes/specs.jsp?model_id=MDL102549&feature_id=03

Brochures:

http://www.us.jvc.com/projectors/pdf/dla_nx7.pdf
http://pro.jvc.com/pro/attributes/dila/brochure/dlars2000web.pdf

Tech Docs:

http://pro.jvc.com/prof/attributes/inst_man.jsp?model_id=MDL102549&feature_id=11

Features:

- Complies with HDMI 2.0b/HDCP 2.2 standard to enable full spec 4K signal input with 18Gbps transmission band-width (4K60P 4:4:4, 4K60P 4:2:2/36-bit, 4K24P 4:4:4/36-bit)

- Light source: NSH 265 W lamp

- Resolution: 4096 x 2160

- Input connectors: HDMI x 2 (3D, Deep Color/HDCP 2.2)

- Output and control connectors: RS-232C (D-sub 9pin) x 1, LAN (RJ-45) x 1, Trigger x 1 (Mini jack), 3D Sync x 1 (Mini-DIN 3pin)

- 3D formats: Frame Packing, Side-by-Side (Half), and Top and Bottom

- New 0.69 inch 4K D-ILA (4096 x 2160) device x 3

- High-definition display at 4K resolution (4096 x 2160)

- 17-element, 15-group all-glass 65mm diameter high-quality lens

-Multiple Pixel Control image processor accurately reproduces images closer to the original

- Exceptionally bright 1,900 lm means bright, high-resolution images

- Deep Blacks are realized by a High Native Contrast Ratio of 80,000:1 (Dynamic Contrast Ratio 800,000:1)

- Wide Color Gamut above exceeds DCI/P3 spec creating saturated, beautiful images that come to life

- Compatible with HDR technology that dramatically improves image quality that rivals real life.

- Auto Tone Mapping function automatically adjusts settings for optimum HDR10 image quality

- For easy reproduction, the projector switches automatically to HDR picture mode when HDR10 signals are received

- Display the MaxCLL and MaxFALL mastering data available for HDR content on some UHD Blu-ray discs

- Compatible with Hybrid Log-Gamma that is expected to be used widely in future broadcasting

- Installation Mode centrally manage nine settings related to installation to enjoy video best suited for each environment

- Nine settings of Installation Mode include Lens Control, Pixel Adjustment, Mask, Anamorphic on or off, Screen Adjust, Installation Style, Keystone, Pincushion, and Aspect; stored installation modes for various environments can be called up.

- Renewed Clear Motion Drive supporting 4K60P (4:4:4) signal improves moving images more than ever

- Motion Enhance technology reduces residual images and blurring that are often found in fast-moving images by optimally controlling the drive of D-ILA devices

-Low Latency Mode suppresses display delay for faster response when receiving signals from PC and game consoles

-Color Management System with 6-axis Matrix

- Auto-Calibration Function using an optical sensor* is capable of optimizing essential elements in the image, including color balance, gamma characteristics, color space and color tracking

- ISF C3 (Certified Calibration Controls) mode** to reproduce excellent picture quality optimized for specific environments.

- Wireless transmission options for 3D viewing: RF (radio frequency) system transmission with PK-AG3 3D Glasses for 100H continuous operation and PK-EM2 3D Synchro Emitter

*Exclusive JVC software installed in PC and optical sensor are required. Please visit the JVC website for details.
**Professional calibration to desired screen is performed by trained dealers.



DLA - NX5 / RS1000



http://www.us.jvc.com/projectors/procision/dla_nx5/
http://pro.jvc.com/prof/attributes/features.jsp?model_id=MDL102548

Product Overview:


http://pro.jvc.com/prof/attributes/features.jsp?model_id=MDL102548&feature_id=01

Specs:

http://pro.jvc.com/prof/attributes/specs.jsp?model_id=MDL102548&feature_id=03

Brochures:


http://www.us.jvc.com/projectors/pdf/dla_nx5.pdf
http://pro.jvc.com/pro/attributes/dila/brochure/dlars1000web.pdf

Tech Docs:

http://pro.jvc.com/prof/attributes/inst_man.jsp?model_id=MDL102548&feature_id=11

Accessories:

http://pro.jvc.com/prof/attributes/accessories.jsp?model_id=MDL102549&feature_id=05

Features:

- Complies with HDMI 2.0b/HDCP 2.2 standard to enable full spec 4K signal input with 18Gbps transmission band-width (4K60P 4:4:4, 4K60P 4:2:2/36-bit, 4K24P 4:4:4/36-bit)

- Light source: NSH 265 W lamp

- Resolution: 4096 x 2160

- Input connectors: HDMI x 2 (3D, Deep Color/HDCP 2.2)

- Output and control connectors: RS-232C (D-sub 9pin) x 1, LAN (RJ-45) x 1, Trigger x 1 (Mini jack), 3D Sync x 1 (Mini-DIN 3pin)

- 3D formats: Frame Packing, Side-by-Side (Half), and Top and Bottom

- New 0.69 inch 4K D-ILA (4096 x 2160) device x 3

- High-definition display at 4K resolution (4096 x 2160)

- 17-element, 15-group all-glass 65mm diameter high-quality lens

- Multiple Pixel Control image processor accurately reproduces images closer to the original

- Exceptionally bright 1,800 lm means bright, high-resolution images

- Deep Blacks are realized by a High Native Contrast Ratio of 40,000:1 (Dynamic Contrast Ratio 400,000:1)

- Compatible with HDR technology that dramatically improves image quality that rivals real life.

- Auto Tone Mapping function automatically adjusts settings for optimum HDR10 image quality

- For easy reproduction, the projector switches automatically to HDR picture mode when HDR10 signals are received

- Display the MaxCLL and MaxFALL mastering data available for HDR content on some UHD Blu-ray discs

- Compatible with Hybrid Log-Gamma that is expected to be used widely in future broadcasting

- Installation Mode centrally manage nine settings related to installation to enjoy video best suited for each environment

- Nine settings of Installation Mode include Lens Control, Pixel Adjustment, Mask, Anamorphic on or off, Screen Adjust, Installation Style, Keystone, Pincushion, and Aspect; stored installation modes for various environments can be called up.

- Renewed Clear Motion Drive supporting 4K60P (4:4:4) signal improves moving images more than ever

- Motion Enhance technology reduces residual images and blurring that are often found in fast-moving images by optimally controlling the drive of D-ILA devices

- Low Latency Mode suppresses display delay for faster response when receiving signals from PC and game consoles

- Color Management System with 6-axis Matrix

- Auto-Calibration Function using an optical sensor is capable of optimizing essential elements in the image, including color balance, gamma characteristics, color space and color tracking

- ISF C3 (Certified Calibration Controls) mode to reproduce excellent picture quality optimized for specific environments.

- Wireless transmission options for 3D viewing: RF (radio frequency) system transmission with PK-AG3 3D Glasses for 100H continuous operation and PK-EM2 3D Synchro Emitter










































UNBOXING:






THE NEW REMOTE!: :cool:







 
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#4,381 ·
UHD 24HZ?

Is that the correct output for the Oppo?

Thanks
I don't have an Oppo. You'll know if it works because as soon as you just switch to the oppo input, the projector should go through the sync and the info screen should show you at 24 hz.
 
#4,382 ·
The RS500's trigger (which lowers my screen) was almost instantaneous after powering on the PJ. The NX7 takes almost 20 seconds to drop the screen from the powered trigger. Does anyone have any suggestion on how to shorten the trigger time? BTW, the screen goes up as soon as the NX7 begins to power down. Thanks!
Have your dealer report it to JVC - maybe they'll fix it. In the meantime, you can get 12V triggers that sense power use and so will start/stop on the projector powering. For example this one for Elite screens, though I've seen universal ones: https://www.amazon.com/Elite-Screens-ZU12V-Universal-Projector/dp/B00BU3ZPRO
 
#4,383 ·
Have your dealer report it to JVC - maybe they'll fix it. In the meantime, you can get 12V triggers that sense power use and so will start/stop on the projector powering. For example this one for Elite screens, though I've seen universal ones: https://www.amazon.com/Elite-Screens-ZU12V-Universal-Projector/dp/B00BU3ZPRO
Thanks for that suggestion, but it would be difficult to implement in my theater. Perhaps someone here like Kris Deering, who has more direct access to JVC technical support, may be able to inquire whether this prolonged time for activating the trigger is by choice or is possibly able to be brought more in line with the performance of prior projectors via firmware changes.
 
#4,385 ·
I think their are quite a few here who have a foot in both waters. We won’t give JVC a free pass but we realize they really can make a good projector. If you’ve been a long time JVC customer, one that’s owned at least 4 of their projectors, I’m going to guess you know where I’m coming from. I’ve had some great experiences and some pretty bad ones. Easiest way to say it is I hold high hopes for the new series but temper that with a expectation that some things will go wrong lol. Hopefully the less then perfect things can be fixed.
I would love to know what the issue was, but JVC is not going to tell us. We see delays in manufacturing all the time and I don't recall very many manufacturer's telling us what the issue was either. But to be honest, I don't know that we are owned this information. The old saying, you don't air your dirty laundry in public comes to my mind. What we are owned, is a good working projector.
 
#4,386 · (Edited)
You can't assess color reproduction looking only at 100% sat, as @ArrowAV did on his charts. You also need to look at saturation tracking within the gamut, and especially for HDR, you have to look at color volume as well, not just gamut coverage at a single stim level.

A gamut undersaturated at 100% sat but tracking saturation perfectly within the gamut will look more accurate on most content than a gamut fully saturated at 100% sat but with poor saturation linearity within the gamut. This is true for both SDR and HDR.

Similarily, you really need to look at color volume, not just color gamut for HDR. Gamut gives you information at one luminance level. That's not enough to evaluate color performance overall. I see people showing charts at 100% or 75% stim and bragging that they don't need the filter. Have they looked at their color evolume, i.e. how wide the gamut is and how it tracks at all stimulus levels?

Frankly showing a gamut chart without showing saturations should be banned, especially when people mention using the CMS, which is known for making things worse rather than better if you use more than a few clicks on saturation.

So if you want to compare performance with/without the filter, beyond the brightness loss caused by the filter we need to see:

- How each user mode (with filter/without) tracks saturations below 100% sat (at 25%, 50% and 75% for example), especially if the CMS was used to reach the targets at 100%.
- What is the color volume, not just the color gamut, not only with/without filter, but also in low lamp/high lamp.

The saturation in HDR is hurt most as the brightness goes up with an undersaturated color volume. So instead of a blue sky, you see a white/pale sky. Saturation near black can be a real issue as well. This won't show up if you only look at a gamut chart showing 100% sat only at 100% (or 75%) stim and proudly reporting 100% gamut cover.

So please report the color volume numbers (and graphs), not only the color gamut numbers if you want to make a meaningful comparison between filter/no filter.
Not a problem @Manni01 ! :)

Yes you are absolutely right that it is important to be considering all aspects, including how the chroma saturation tracks within the respective color gamuts. Where to be perfectly honest I was simply trying to keep things simple and not too technically daunting and/or complex for the layperson AV enthusiast.

And that’s a good point regards reporting the color volume performance with respect to HDR; so I will endeavour to do this as soon as I can find the time to do so :)

So to kick things off let’s deal with SDR… OK here’s the deal… In short, what I previously posted regarding this is 100% correct.


Specifically, I am measuring circa 106% coverage of REC.709 without the filter, uncalibrated:





Wherein, calibrated it is possible to achieve 101% coverage of REC.709 without using the filter:





And yes, this includes excellent mapping of all saturation points: :rolleyes:



Finally, saying that the filter is not necessary because you can get 90% of DCI-P3 with a new projector doesn't take into account how this can evolve as the projector ages over time. Some units can cover 100% of DCI-P3 with the filter and 100% of rec-709 without the filter when new, but quite a few people have reported that this doesn't necessarily remains the case after a while, at least with older models. So you might decide that you're fine without the filter to start with, but then decide to use it later. Note that this possible gamut cover shift over time on older models only concerns some units, and might be related to or made worse by specific environmental factors (excessive temperature, insufficient ventilation, use of high lamp or not, length of the sessions, A/C in the room or not, etc). Many users if not most have a stable gamut cover over time. We have no idea how the new models will behave in this regard and if some of them will shift in the same way over time of not.
Good point :)


I for one applaud JVC's decision to have come up with a filter that allows to reach close to 100% of DCI-P3 on all units (and a bit more on some units) because that provides some headroom as the projector ages, both for rec-709 and DCI-P3.
Well this is where I am not entirely on the same page as you so to speak

Personally, I consider 25% loss of light output to be too much; and I am by no means the only person with this opinion; and especially given we are not talking about a projector that has a considerable amount of surplus light output, particularly with respect to HDR. IMO a much better approach would be to limit the loss of light to say 10-15% maximum and achieve as much of the DCI-P3 color gamut that can be achieved with that acceptable level of light loss. Where I think many more people would prefer say for example 97% of DCI-P3 with 10-15% reduction in light output than 100% of DCI-P3 but with 25% reduction in light output


One advantage of using the filter for Rec-709 as well as DCI-P3 is that you spare the filter mechanism the repeated stress of moving the filter in/out every time the content changes…
Well yeah, but that is not really a massive advantage in itself, merely icing on the cake / gravy...

**HOWEVER** I am personally intending NOT to use the filter for both SDR / Rec-709 as well as HDR / DCI-P3, wherein the advantage is precisely the same... in other words, what you are saying in fact bears no advantage as compared with what I am suggesting, because it is exactly the same situation :)


…and it also speeds up sync times, as only the iris setting changes (from a physical/mechanical point of view)
The difference measures 2 seconds… Again not a massive advantage in itself

**BUT** again because I am personally intending NOT to use the filter for both SDR / Rec-709 as well as HDR / DCI-P3, again this in fact bears no advantage as compared with what I am suggesting, because it is exactly the same situation. In other words, the comparative sync times will be identical :)


Sure you might lose a bit of native contrast... You lose some native on/off, but you gain some ANSI contrast, so it's a wash and even a gain if you can use the DI.
Not really :)

The loss of native on/off outweighs the slight non-significant increase in ANSI contrast measurement. ANSI in itself has very little to do with respect to in itself directly influencing the black level performance of video content (hopefully I won’t have to explain again why this is the case ;))


Also remember that more and more titles are now mastered to BT2020 (including recent studio (re)releases, and not only animation: 2001 A Space Odyssey, A Beautiful Planet, Blade Runner 2049 US, Cliffhanger, The Deer Hunter, Escape from New York UK, The Fog UK, They Live UK, Game of Thrones US and UK, The Incredibles US, The Matrix Trilogy, Ready Player One UK, and many more). I haven't been able to test yet how much actual content reaches beyond P3, but given that the standard is BT2020 and P3 is only a step towards it, it's going to be more and more the case. So you really want a gamut as wide as you can get if you want to reproduce all HDR titles as well as possible. I think that's one of the reasons why the filter loses 40% brightness on the RS4500. It's because they tried to reach over P3 to make the PJ as future-proof as possible. I'm happy with 20-25% brightness loss to get 100% of P3 as a compromise for the next few years.

Those who don't really care about hitting reference will be fine using no filter, as this is about what Sony units cover. An rs1000/N5 can be a good option in that case and will produce a stunning picture. Just make sure the calibration is tracking at all saturation levels and not just at 100%, otherwise the picture is likely to be undersaturated, even if it hits the targets at 100% sat.

But for anyone who wants a reference picture or close to reference picture, not only when new but over time, I would not go below the rs2000/N7, and I'd make sure that my screen size/gain doesn't prevent me from hitting reference, because the filter will be needed to achieve that.
The measured maximum usable calibrated light output with respect to my first JVC RS3000/NX9 is circa 1800 lumens without the color filter, and circa 1300 lumens with the color filter.

You are going to be hard pressed to hit the recommended 50+ fL for HDR in most home theaters/cinemas with only circa 1300 lumens... AND that's IF you actually have 1300 lumens available to use, because this is the MAXIMUM, which hence corresponds to MAX ZOOM, whereas with smaller screen sizes the lumens will actually be significantly less than this.

Furthermore, the fact of the matter is that there is not currently a large quantity of consumer HDR video content with strongly saturated WCG material. Yes, the number of titles is indeed increasing (albeit not fast enough for my liking), but in reality what percentage of video content right now will most people be able to perceive a difference? Certainly not 100%. Whereas, if instead you choose NOT to use the filter, you will benefit from significantly improved contrast and better black levels performance without a perceivable difference in colour performance with SDR; and a higher luminance dynamic range with potentially a lot more 'pop' and possibly also improved contrast and better black levels performance as well with HDR, or the option to run HDR with LOW LAMP instead of HIGH LAMP... all of which WILL be perceived with respect to 100% of consumer video content... BUT you will not be achieving 100% perfect color accuracy in all instances... So it boils down to a case of pick your poison, and personal preference will be key.

Me personally, at the present time, I would choose NOT to lose 25% of my light output thanks, but opt instead for all the benefits that can be achieved by not doing so.

That said, however, as and when the majority of consumer HDR video content comprises strongly saturated WCG material, then the importance of 100% DCI-P3 gamut coverage will become all-important. So another point to add in favour of the color filter’s existence is future-proofing :)


I'll try to post measurements with/without filter in the JVC Autocal V11 calibration thread for the new models when I get my rs2000 (hopefully soon).
That would be great. I look forward to it :)

:wink:
 
#4,390 ·
Thanks, Zombie. So I do have it on the correct settings.
Yea so how does it behave now? It syncs 15 seconds when you switch to the Oppo input then no more of that once the movie starts?
 
#4,392 ·
if you leave it alone (out of the box) will it affect FFTB?

In Mad Max UHD there are a number full fades that will close the RS600 down to a pin hole 00:03:22 and 00:30:11 are 2 good examples.

what happens to the iris without the tweaks? thx!
In short, if your unit is afflicted by this issue, then the gamma is low with respect to both 1% and 2% IRE. If you leave this alone out of the box then this will affect the black level performance and grayscale balance coming out of black, which you don't want.

The good news is that I have now confirmed that you can fix this quite easily via either reducing the BRIGHTNESS setting or alternatively reducing the GAMMA DARK LEVEL setting.

See here wherein I have achieved a very nice flat profile via adjusting the BRIGHTNESS:



And here wherein I have also achieved a good profile but this time instead adjusting the GAMMA DARK LEVEL:



Depending on the severity you might need to reduce the Red, Green, and Blue BIAS as well accordingly :)

I haven't actually measured the comparative black levels for 0 IRE because until I receive another unit I have just the one so would need to roll back the calibration of the gamma back to out-of-the-box performance which I would rather not do given I have just got the unit nicely calibrated... but it is possible that this might affect this as well

:wink:
 
#4,393 ·
Yea so how does it behave now? It syncs 15 seconds when you switch to the Oppo input then no more of that once the movie starts?
No, there are still sync issues. The Paramount logo got cut off for a few seconds. Totally blank screen for about two seconds while the intro music over logo played. I am going to have to use the "pause" trick described earlier in this thread.

Allow me to say this...

This evening I watched the remainder of Braveheart. Please note, I only watched the first 20 minutes earlier in the week to assess the 4k quality.

This evening's viewing affirmed to me two things...

First, and your opinion may vary, Braveheart is one of the greatest accomplishments on film. It is my favorite film of all time.

Secondly, it was well worth my hard-earned money to invest in 4k projection. That was confirmed to me tonight as I watched a film I had seen dozens of times prior, but seemed completely fresh to me in this viewing due to its picture quality.

The landscape photography looks breathtaking. The close-ups of faces look stunning. 4k resolution really brings color and detail into the picture like never before. I can finally see it. I can finally appreciate it.
 
#4,394 ·
No, there are still sync issues. The Paramount logo got cut off for a few seconds. Totally blank screen for about two seconds while the intro music over logo played. I am going to have to use the "pause" trick described earlier in this thread.

Allow me to say this...

This evening I watched the remainder of Braveheart. Please note, I only watched the first 20 minutes earlier in the week to assess the 4k quality.

This evening's viewing affirmed to me two things...

First, and your opinion may vary, Braveheart is one of the greatest accomplishments on film. It is my favorite film of all time.

Secondly, it was well worth my hard-earned money to invest in 4k projection. That was confirmed to me tonight as I watched a film I had seen dozens of times prior, but seemed completely fresh to me in this viewing due to its picture quality.

The landscape photography looks breathtaking. The close-ups of faces look stunning. 4k resolution really brings color and detail into the picture like never before. I can finally see it. I can finally appreciate it.
That's too bad. It sounds like the oppo switches resolutions even if it's already set for the correct resolution to start :(
Just for kicks, can you test this?
Start the oppo and with the oppo menu up, pull up the projector info screen and report what is it showing? 3840x2160@24?
Then start a movie after it syncs and video is back like with the paramount logo playing, what is the info screen showing now?
Then when the actual movie starts, what is it showing?
In theory, if these are all the same, the projector should never have to resync.

Also, your oppo has ability to play mkv files right? If you really want to see some jaw dropping detail, play this:
http://hifiandtheater.com/files/yokohama-night-4k.mkv
 
#4,395 ·
That's too bad. It sounds like the oppo switches resolutions even if it's already set for the correct resolution to start :(
Just for kicks, can you test this?
Start the oppo and with the oppo menu up, pull up the projector info screen and report what is it showing? 3840x2160@24?
Then start a movie after it syncs and video is back like with the paramount logo playing, what is the info screen showing now?
Then when the actual movie starts, what is it showing?
In theory, if these are all the same, the projector should never have to resync.

Also, your oppo has ability to play mkv files right? If you really want to see some jaw dropping detail, play this:
http://hifiandtheater.com/files/yokohama-night-4k.mkv
Markmon,

Okay, I went ahead and did this.

Different outcome this time.

The start of the movie from the menu no longer clipped. It played fine.

The only thing that was cut off was the Paramount Home Video logo. That is the first thing that appears prior to the menu, so if that is a normal sync issue, I can live with that.

From Oppo Screen to video playback, INFO constantly showed:

3840x2160 @24p
 
#4,396 ·
In short, if your unit is afflicted by this issue, then the gamma is low with respect to both 1% and 2% IRE. If you leave this alone out of the box then this will affect the black level performance and grayscale balance coming out of black, which you don't want.

The good news is that I have now confirmed that you can fix this quite easily via either reducing the BRIGHTNESS setting or alternatively reducing the GAMMA DARK LEVEL setting.

See here wherein I have achieved a very nice flat profile via adjusting the BRIGHTNESS:
Is Chromapure measuring the 1-2% and the 5% steps just a limitation of its reporting? Or did you have to verify the 1-2% by hand?
 
#4,397 ·
No, there are still sync issues. The Paramount logo got cut off for a few seconds. Totally blank screen for about two seconds while the intro music over logo played. I am going to have to use the "pause" trick described earlier in this thread.

~
cable used ? and path ? what else is in the stream ? sounds to me just a typical hdmi issue ?
 
#4,398 ·
#4,399 ·
Cable:

https://www.amazon.com/gp/product/B01MFXEG1X/ref=ppx_yo_dt_b_asin_title_o09__o00_s00?ie=UTF8&psc=1

One of these goes from Oppo output to Denon AVR-X7200WA Dolby Atmos Receiver

Other goes from Denon output to HDMI input on JVC

Length of each HDMI cable: 6'
looking at the negative reviews of that cable, there's a dozen or so complaints about the cable not passing dolby vision. That shouldn't be an issue for any real certified premium cable, so maybe there are other issues with them causing longer than necessary handshakes.

https://www.amazon.com/Tera-Grand-C...iewpnt_rgt?filterByStar=critical&pageNumber=1


It might be worth picking up a pair of the monoprice cable to be certain, these are guaranteed to work well with the JVC's. I have almost 50 feet (source->Denon 7200->Vertex->Projector) and no sync issues up to 4K/60.

https://www.amazon.com/Monoprice-115430-Certified-Premium-18Gbps/dp/B01GCGKFBY/
 
#4,400 ·
looking at the negative reviews of that cable, there's a dozen or so complaints about the cable not passing dolby vision. That shouldn't be an issue for any real certified premium cable, so maybe there are other issues with them causing longer than necessary handshakes.

https://www.amazon.com/Tera-Grand-C...iewpnt_rgt?filterByStar=critical&pageNumber=1


It might be worth picking up a pair of the monoprice cable to be certain, these are guaranteed to work well with the JVC's. I have almost 50 feet (source->Denon 7200->Vertex->Projector) and no sync issues up to 4K/60.

https://www.amazon.com/Monoprice-115430-Certified-Premium-18Gbps/dp/B01GCGKFBY/

Thanks for that tip

Let me ask you...

If these HDMI cables were not passing Dolby Vision would I know? Would I even get a picture?
 
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