The 2019 model projectors comparison thread - Page 25 - AVS Forum | Home Theater Discussions And Reviews
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post #721 of 2791 Old 02-12-2019, 02:11 AM
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Originally Posted by coolgeek View Post
Not sure if this is true.. My room is pretty dark... I have once tried putting black cloth everywhere and the contrast gain was negligible... my room already has very dark carpet, dark maroon sides, and very deep brown wood... almost all the contrast gain, black floor level are strictly from the screen material if you asked me...

As for viewing angle, I think this screen has a viewing angle of 130 degrees... i also have another 1.6 gain, white screen that also have the same viewing angle.. and i can tell you this... that screen actually brought the black floor up several degrees... and i lost contrast... so, both with similar viewing angle, one gained contrast, the other lost contrast...

As for brightness uniformity, sure... as you go further from the center of the screen you will lose some brightness.. but unless i am sitting there, just looking for it, it's not really visible to me when watching content... everything just pop.. and look so much nicer, so much depth.. in fact, this change was truly what i would call 'night and day'... because i spend the next 12 hours or so going thru every concert i can get cause the laser light shows, etc are so stunning... like i am righ there...
Well, what I wrote is certainly true for measured contrast, The physics is what it is . It sounds also like you're going from the manufacturer specs, which is fine. Better manufacturers publish full gain curve data which shows you what is happening. A 130degree screen is a kind of ALR screen, as often the definition of 130degrees is that at 130degree cone edges the gain is half that of the centre of the cone. This has an effect on how much brightness you get from the screen also as if the projector is above your head, and you are sat below the centre of the screen, you will be either side of the gain curve there also and lose some brightness, but a notable effect is reduction of room reflections.

What I will say is this though. This all gets a bit fuzzy from a PERCEIVED CONTRAST point of view if you're not targeting a specific peak white (ie you're using all the brightness of a projector), and / or there is ambient or bias light. This could be putting your eye into a different "range of vision" which can result in blacks looking, well, blacker. This is the reason in a bright room you can look at an OLED screen and the black level is really good. If you measured the black level your eye is experiencing off that OLED screen you'd be surprised how high it is in that environment (not using a device to block out the light like a hood, but actually looking at the screen just with a frustrum over your instrument to prevent stray light contamination). But the contrast of the black level of the screen to the high ambient level makes it seem blacker.
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post #722 of 2791 Old 02-12-2019, 04:55 AM
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Honestly, Director's intent matters zero to me... same as for music...
Directors intent means precisely zero unless you have the original source frame in front of you on a calibrated colourists monitor and/or the director sat next to you.

Otherwise, how can you tell 'how the director intended it?'

As long as the image is pleasing to the end user, then who cares!

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post #723 of 2791 Old 02-12-2019, 05:01 AM
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Originally Posted by Archibald1 View Post
Directors intent means precisely zero unless you have the original source frame in front of you on a calibrated colourists monitor and/or the director sat next to you.

Otherwise, how can you tell 'how the director intended it?'

As long as the image is pleasing to the end user, then who cares!
This is precisely why we have calibration standards for colour and gamma. I'm all for seasoning to preference - live and let live and all that - but first you should aim to achieve reference!
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post #724 of 2791 Old 02-12-2019, 05:06 AM
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This is precisely why we have calibration standards for colour and gamma. I'm all for seasoning to preference - live and let live and all that - but first you should aim to achieve reference!
I get that, and I agree, but life is too short.

I like to get things spot on as much as the next nerd, but sometimes things happen that make you realise that it just doesn't really matter that much.
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post #725 of 2791 Old 02-12-2019, 05:18 AM
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I get that, and I agree, but life is too short.

I like to get things spot on as much as the next nerd, but sometimes things happen that make you realise that it just doesn't really matter that much.
Come on Arch, thats a cop-out and you know it! Our 760's are pretty dreadful, calibration-wise out of the box. You don't get to see the kind of image quality they can achieve without a decent calibration.

I get that folks don't necessarily want to do the job themselves, but if they're willing to drop thousands (sometimes multiples of tens of thousands) of pounds/dollars on a projector, they should be willing to spend a few hundred on a professional calibration also. You wouldn't spend the same kind of money on a car, and then not get it serviced each year to keep it running at its best.
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post #726 of 2791 Old 02-12-2019, 05:32 AM
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You have to realise that this is physically impossible. A screen material cannot selectively change its gain based on the intensity of light being reflected off it. It can't have, say, a gain of 0.5 at 5 IRE and a gain of 1.8 at 100 IRE - it will reflect exactly the same proportion of light at all intensities. So there is no way it can physically increase the on/off contrast.

It would be a nice thought if it could break those laws of physics, it would solve dynamic range issues with projectors in one fell swoop, and we could all enjoy 1mil:1 on/off contrast.

The only way your screen could increase perceived contrast, is as Bobof has described, in that it has ALR properties, and you have a reflective room, and it is preventing light reflected back onto the screen from being projected back to the viewing position. Even then though, thats only going to improve your intra-scene ANSI type contrast, not on/off contrast so it won't improve the black floor in low APL scenes with no bright highlights, which is where high on/off contrast becomes most critical.
Magic..!

But prob a bit of everything... I don't know what's happening but anyone can go try... I already showed you the picture.. the blacks are certainly lowered by many degrees till they look like the blackest projector i have ever seen personally (JVC included).

1. APL Scenes - looks agreat! I watched Godzilla, the torture test on this. As I said, other than lowering the black floor, any sort of light is still there.. nothing looks washed out.. it just seems to bring the black floor down... so, in very low light scenes, things still looks great and contrasty... In space star field scenes especially. You can see tiny bright stars while everything else was inky black.

2. I have no clue what the 'physical gain' or none or whatever, but I can only tell you what i observed. The blacks became much blacker (let's say on off), and then the lighted scenes became much brighter (as this is a higher gain screen), so, no they are not both elevated at the same time...

3. ALR properties. Perhaps... but as i said, i have already tried covering the room with black velvet and the perceived 'black floor gain' or ansi contrast as you call it, didn't improve by much on a white screen. Nothing as drastic as this screen alone. So, can I squeeze out extra ansi, sure.. but not that much...

4. I have also compared the 'white screen material' both my woven screen and a 1.0 gain vinyl solid screen and a 1.6 gain white material side by side on this screen. And all of those screens elevated the blacks by a lot.. (I take it those are the native black level of the Sony).

Anyways, all of that technical stuff may be right (or wrong), but it doesn't change the fact that this screen could lower the black floor of the DLP projector as well.. that's what's we're all talking about here...
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post #727 of 2791 Old 02-12-2019, 06:06 AM
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Come on Arch, thats a cop-out and you know it! [IMG class=inlineimg]/forum/images/smilies/wink.gif[/IMG] Our 760's are pretty dreadful, calibration-wise out of the box. You don't get to see the kind of image quality they can achieve without a decent calibration.

I get that folks don't necessarily want to do the job themselves, but if they're willing to drop thousands (sometimes multiples of tens of thousands) of pounds/dollars on a projector, they should be willing to spend a few hundred on a professional calibration also. You wouldn't spend the same kind of money on a car, and then not get it serviced each year to keep it running at its best.
Not really.
The price of my projector was a major factor in stumping up for a calibration.
Yes it did bring out the best in the image, but in the other hand, if it had cost far less I would have probably just tweaked it myself and been happy at that.

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post #728 of 2791 Old 02-12-2019, 07:19 AM
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Originally Posted by Archibald1 View Post
Directors intent means precisely zero unless you have the original source frame in front of you on a calibrated colourists monitor and/or the director sat next to you.

Otherwise, how can you tell 'how the director intended it?'

As long as the image is pleasing to the end user, then who cares!
This discussion came about because people were talking about the DLP projectors giving better shadow detail in dark scenes. Yes, they give more shadow detail, but not because they are able to show more information. They show more detail because they can't show the information correctly. In the same way an overexposed photo can show more detail in the dark. If you like that, it is fine, but it should not be considered an advantage.
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post #729 of 2791 Old 02-12-2019, 07:23 AM
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Originally Posted by coolgeek View Post
Magic..!

But prob a bit of everything... I don't know what's happening but anyone can go try... I already showed you the picture.. the blacks are certainly lowered by many degrees till they look like the blackest projector i have ever seen personally (JVC included).

1. APL Scenes - looks agreat! I watched Godzilla, the torture test on this. As I said, other than lowering the black floor, any sort of light is still there.. nothing looks washed out.. it just seems to bring the black floor down... so, in very low light scenes, things still looks great and contrasty... In space star field scenes especially. You can see tiny bright stars while everything else was inky black.

2. I have no clue what the 'physical gain' or none or whatever, but I can only tell you what i observed. The blacks became much blacker (let's say on off), and then the lighted scenes became much brighter (as this is a higher gain screen), so, no they are not both elevated at the same time...

3. ALR properties. Perhaps... but as i said, i have already tried covering the room with black velvet and the perceived 'black floor gain' or ansi contrast as you call it, didn't improve by much on a white screen. Nothing as drastic as this screen alone. So, can I squeeze out extra ansi, sure.. but not that much...

4. I have also compared the 'white screen material' both my woven screen and a 1.0 gain vinyl solid screen and a 1.6 gain white material side by side on this screen. And all of those screens elevated the blacks by a lot.. (I take it those are the native black level of the Sony).

Anyways, all of that technical stuff may be right (or wrong), but it doesn't change the fact that this screen could lower the black floor of the DLP projector as well.. that's what's we're all talking about here...
If you want to see how much darker your whites are, fasten a piece of ST130 to your screen and place it so that a scene with a lot of white in it, hits the ST130 and your screen. You can't have it both ways, as in better blacks and whiter whites. The contrast stays the same. You have just shifted everything down.
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post #730 of 2791 Old 02-12-2019, 07:25 AM
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Originally Posted by Mike Garrett View Post
This discussion came about because people were talking about the DLP projectors giving better shadow detail in dark scenes. Yes, they give more shadow detail, but not because they are able to show more information. They show more detail because they can't show the information correctly. In the same way an overexposed photo can show more detail in the dark. If you like that, it is fine, but it should not be considered an advantage.
I guess it's fair to say that if the JVCs are crushing detail because 17 is often barely visible, then they are showing less detail, so are also not showing things correctly and is also not as the director intended.

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Who says Cameron is "right" and why do we care about him so much - lol!

I trust Gary Lightfoot more than James Cameron.
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post #731 of 2791 Old 02-12-2019, 07:42 AM
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In the same way an overexposed photo can show more detail in the dark. If you like that, it is fine, but it should not be considered an advantage.
I agree, but I didn't say that did I? I like a nice balance.

And anyhow, if some do like it like that, then that is their prerogative regardless of how much better it may be able to be made to look.
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post #732 of 2791 Old 02-12-2019, 08:36 AM
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Originally Posted by Gary Lightfoot View Post
I guess it's fair to say that if the JVCs are crushing detail because 17 is often barely visible, then they are showing less detail, so are also not showing things correctly and is also not as the director intended.
That is correct, if you are crushing 17, but sometimes you can calibrate so that you are not crushing 17. The DLP's just can't get there, no matter what you do. This is nothing new. It has always been this way with DLP. DLP's do have their advantages, but this is not one of them.
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post #733 of 2791 Old 02-12-2019, 08:39 AM
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Originally Posted by Archibald1 View Post
I agree, but I didn't say that did I? I like a nice balance.

And anyhow, if some do like it like that, then that is their prerogative regardless of how much better it may be able to be made to look.
True, no problem if they like that. I was just trying to explain the science of it, since some were thinking this detail is correct and that the higher contrast projectors were not showing what should be shown.
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post #734 of 2791 Old 02-12-2019, 09:00 AM
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I agree, but I didn't say that did I? I like a nice balance.

And anyhow, if some do like it like that, then that is their prerogative regardless of how much better it may be able to be made to look.
I think it's still worthwhile pointing out that it's off because we don't always take all factors into account when evaluating an image and knowing more about the intended effect may actually alter our preferences. In this case when I saw the Morgan Freeman screenshots that had more shadow detail next to those that did not I also preferred more detail and assumed that the darker image reflected a flawed representation of the content.

Once I understood that it was intended to be the darker version I could appreciate that the dramatic effect of the scene is altered by the projector that shows more detail than intended. Morgan Freeman is not as menacing and the whole scene is less "dark" - both literally and figuratively - than it is supposed to be. In all of our pixel-peeping we sometimes forget that there is an emotional element to watching a movie and any elements of presentation that are compromised have the potential to affect that experience independent of our subjective opinion of the aesthetics of isolated screen shots. Maybe blue is my favorite color but that doesn't necessarily mean I want to calibrate my projector to push blue.

A lot of video games have a setup phase before you are allowed to play the game where a grayscale pattern is displayed with instructions to alter the brightness until the darkest gray is barely visible but still distinguishable from black. It's a cool trick to ensure that the dramatic presentation matches the intent of the game developer across all display devices. This works - I assume - because all content is rendered in real time so subtle tweaks can be made to the textures that are rendered to get the correct amount of shadow detail; essentially a custom curve for each game.

I assume with these projectors there's not something similar that can be done to suppress the excessive detail and that it's just an artifact of the raised black floor of DLPs?
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post #735 of 2791 Old 02-12-2019, 09:23 AM
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Thanks for the post and information.

All of the units i will see will have had final calibrations made.

Regarding the 885es and 995es, i'll be visting a friends studio that is installing a new 995es in their main sound stage, and moving the 885es out of the main room and the 885es is replacing something else in another room. So i will get to see the two units side by side. I think the 885es has around 3k hours, so it should also be a good opportunity to see the 885es with a decent amount of use on the light engine.

I'm interested in seeing just how close the two are in performance. The 995es will present more lumens for a couple of reasons, but i'm curious how much they stand apart in other areas.

Still working out the details on the rs4500 visit.



I think advertising your selling dealer both in text and more so the posting of your invoice, is a violation of forum rules and i think if you were to ask Mike he would advise you to not do that. don't want ya to get in trouble.
No-Worries on posting that picture that had No-Pricing showing buddy.
I did it so you could see that when I post something it is factual as an example the Demo hrs. on the 4500.
That's the ONLY reason I posted that picture so you could easily see for yourself that the total viewed hours I spoke of were actually true from delivery to now.

That picture has been taken care of now so all is good.

You know in one choosing a projector to me all comes down to personal choice no matter what anyone else says or thinks.

I have read some nice reviews on the Sony 995ES.
I have zero personal knowledge of it though so no help from me on that other than what I have read.

You know I do have a comment or thought though.
To me if the Sony 995ES & the JVC RS4500 from a cost standpoint are pretty close ???
I think I would go with the RS4500 Laser (UNLESS) when you see with your own eyes you much-much prefer the Sony 995ES.

If you have the time once you do your own previewing I hope you'll share your thoughts on all those with us or certainly me even if you feel the need to do it in a PM (Private).
Or if you like I can also send you my E-Mail address as I would like to know what you actually (Personally) think ???

Good-Luck with your Final-Choice,
Terry
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post #736 of 2791 Old 02-12-2019, 09:27 AM
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If you want to see how much darker your whites are, fasten a piece of ST130 to your screen and place it so that a scene with a lot of white in it, hits the ST130 and your screen. You can't have it both ways, as in better blacks and whiter whites. The contrast stays the same. You have just shifted everything down.
I have compared extensively with a 1.0 woven material, 1.0 vinyl, 1.6 gain white vinyl... they all looked washed out compared to this one... and greyer...

Anyways, this has been discussed to death.. the numbers guys will always have something to say against it... but anyone who's seen my screen and compared with the white alternatives, 100% will say the silver high gain screen is blacker (by a LOT) and 'Brighter' also...

I just don't believe 'numbers' on the display end is all the 'variables involved' here.. it's perception, how our brain interprets stuff, etc... that part is usually not taken into consideration...
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post #737 of 2791 Old 02-12-2019, 09:32 AM
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Originally Posted by Archibald1 View Post
Directors intent means precisely zero unless you have the original source frame in front of you on a calibrated colourists monitor and/or the director sat next to you.

Otherwise, how can you tell 'how the director intended it?'

As long as the image is pleasing to the end user, then who cares!
That is true, lol. Who knows, for what ever reason a director may want a scene to have red push, be washed out, or whatever....

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Not really.
The price of my projector was a major factor in stumping up for a calibration.
Yes it did bring out the best in the image, but in the other hand, if it had cost far less I would have probably just tweaked it myself and been happy at that.
What do you have and who calibrated it?
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post #738 of 2791 Old 02-12-2019, 09:39 AM
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Wow, I hate "selling" etc via here more than most, but is it really against the rules to say where you bought something from? I'm quite surprised by that as I'm sure I've done it (and seen it) tons on here. "Just bought this from such and such, thanks for the great service"... etc. Seems a step far, but if them's the rules, I'll be more mindful in future.
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Nah I am sure that is not what Bytehoven meant because he did it himself some posts ago when he told a poster "Chris took care of you" Talking exact pricing is.
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That's kind of my point, I've seen it a ton and I thought Terry hadn't discussed pricing, so I couldn't see the issue (unless it is just the reproducing of the logo and contact details perhaps).
Anyway, not really my business, just trying to make sure I don't get into even more trouble round 'ere lol.
Hello fellows,

Regarding the picture I posted above in my post.
It was only posted to show the actual Viewed-Demo-Hours and nothing more.
It had ALL Pricing Totally-Blacked-Out so I thought it would not be an issue.

Lastly to those of you that are smart enough to read between the lines as to what I say next,
Don't post what I did even if you do REMOVE ALL PRICING !!!

Terry
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post #739 of 2791 Old 02-12-2019, 09:40 AM
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That is true, lol. Who knows, for what ever reason a director may want a scene to have red push, be washed out, or whatever....

What do you have and who calibrated it?
Most of the time the Director isn't even the one who masters these for BluRay release... i have seen really awesome movies that are terrible in BluRay... so, i guess the purists here wants to see the 'terrible mastering' as if it's a religious thing or something...

And don't forget not all directors are even good... most movies sucks.. and most don't have great visuals...
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post #740 of 2791 Old 02-12-2019, 10:00 AM
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Originally Posted by coolgeek View Post
I have compared extensively with a 1.0 woven material, 1.0 vinyl, 1.6 gain white vinyl... they all looked washed out compared to this one... and greyer...

Anyways, this has been discussed to death.. the numbers guys will always have something to say against it... but anyone who's seen my screen and compared with the white alternatives, 100% will say the silver high gain screen is blacker (by a LOT) and 'Brighter' also...

I just don't believe 'numbers' on the display end is all the 'variables involved' here.. it's perception, how our brain interprets stuff, etc... that part is usually not taken into consideration...
I do not have anything against what you prefer. I was just talking about your statement that the blacks are blacker, while the whites are brighter. Placing a piece of ST130 showing the whites on the ST130 and the white on your screen, you can see exactly what is happening to the whites on your screen. If you are like 99.99% out there, you will prefer the blacks on your screen and the whites on the ST130, but you can't have both. I wish we could, but impossible, with front projection.
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post #741 of 2791 Old 02-12-2019, 10:40 AM
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[QUOTE=coolgeek;57589448]It's not mysterious... it's a 1.8 gain silver screen I got locally. It's micro perforated which i replaced my previous woven screen with. I like this new screen a lot better. Not only does it bring the black floor down by several degrees, it makes the image brighter as well... so, everything becomes more popping.



What is the brand name and where is "locally"? If it's micro perforated, I assume it's AT? How close can one view it before the perforations are perceptible?

Thanks

Rex
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post #742 of 2791 Old 02-12-2019, 10:47 AM
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You know I do have a comment or thought though.
To me if the Sony 995ES & the JVC RS4500 from a cost standpoint are pretty close ???
I think I would go with the RS4500 Laser (UNLESS) when you see with your own eyes you much-much prefer the Sony 995ES.

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For me if they are close even if the JVC PQ was a little worse I would go with the JVC or most any other brand. You talk about Mafia ways that is Sony to a tee! And ripping off the US people by having ridiculous higher pricing vs the rest of the world. Really, it cost you the same to make it. Oh and lets not even talk about the no discount policy and how they deal with dealers I know....no thanks. But for some situations you need to go to the Mafia and that is what it is.
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post #743 of 2791 Old 02-12-2019, 11:01 AM
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That is correct, if you are crushing 17, but sometimes you can calibrate so that you are not crushing 17. The DLP's just can't get there, no matter what you do. This is nothing new. It has always been this way with DLP. DLP's do have their advantages, but this is not one of them.
Mike, but to calibrate the JVC to get a glimpse of 17, at least on the e-shifters, significantly raised the black floor though, right?

Two DLPs I used recently, the Vivitek H9090 and the Runco LS-5, had very good dynamic dark scene blacks and contrast but with excellent shadow detail in dark scenes, visibly better shadow detail than I had with any of my JVCs. For example, the X750/RS500 and the JVC X990/RS640 I had.... and I did have the JVCs calibrated to where I could see the same amount of dark scene detail, but that significantly raised the black floor on those JVCs to where the black level was raised higher than where the DLPs blacks were. Lol.

I know different people have different needs, however. I know sometimes people can't but I still like to always recommend people demo any projector before they make a purchase.
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post #744 of 2791 Old 02-12-2019, 11:11 AM
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I have compared extensively with a 1.0 woven material, 1.0 vinyl, 1.6 gain white vinyl... they all looked washed out compared to this one... and greyer...

Anyways, this has been discussed to death.. the numbers guys will always have something to say against it... but anyone who's seen my screen and compared with the white alternatives, 100% will say the silver high gain screen is blacker (by a LOT) and 'Brighter' also...

I just don't believe 'numbers' on the display end is all the 'variables involved' here.. it's perception, how our brain interprets stuff, etc... that part is usually not taken into consideration...

I like some of the Seymour screens. It's definitely interesting how the different materials operate. I also wonder about color shift. ...will have to take some time to research tonight ...just taking a lunch break now with a crazy snow storm outside here. Lol.
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post #745 of 2791 Old 02-12-2019, 11:22 AM
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Originally Posted by Aztar35 View Post
Mike, but to calibrate the JVC to get a glimpse of 17, at least on the e-shifters, significantly raised the black floor though, right?

Two DLPs I used recently, the Vivitek H9090 and the Runco LS-5, had very good dynamic dark scene blacks and contrast but with excellent shadow detail in dark scenes, visibly better shadow detail than I had with any of my JVCs. For example, the X750/RS500 and the JVC X990/RS640 I had.... and I did have the JVCs calibrated to where I could see the same amount of dark scene detail, but that significantly raised the black floor on those JVCs to where the black level was raised higher than where the DLPs blacks were. Lol.

I know different people have different needs, however. I know sometimes people can't but I still like to always recommend people demo any projector before they make a purchase.
Notice in my original post I said the higher contrast projector got closer to what the scene is supposed to look like.
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post #746 of 2791 Old 02-12-2019, 11:25 AM
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Notice in my original post I said the higher contrast projector got closer to what the scene is supposed to look like.
Mike, how are you defining "what the scene was supposed to look like"? Surely no-one in a cinema saw it on a high-contrast PJ...?
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post #747 of 2791 Old 02-12-2019, 11:39 AM
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Mike, how are you defining "what the scene was supposed to look like"? Surely no-one in a cinema saw it on a high-contrast PJ...?
Javs posted an image of what that scene is supposed to look like and compared it to what some of the projectors show.
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post #748 of 2791 Old 02-12-2019, 11:41 AM
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Mike, how are you defining "what the scene was supposed to look like"? Surely no-one in a cinema saw it on a high-contrast PJ...?
That is an interesting question as most Post Production facilities in Hollywood have Sony projectors and most directors use Sony professional monitors to check scenes. Not to mention that most cinemas around the USA use either Sony, Barco or Christie projectors.
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post #749 of 2791 Old 02-12-2019, 11:50 AM
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Mike, how are you defining "what the scene was supposed to look like"? Surely no-one in a cinema saw it on a high-contrast PJ...?
Kris' comment below suggests that there is an objective standard which may be compromised because of limitations of projector technology so it shouldn't really be a matter of guesswork and differences of opinion. This can be *measured*, right? That of course assumes the mastering process didn't screw it up.

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Low contrast and gamma. So let's think about it. A 2.2 gamma comes out of black FASTER than a 2.4 gamma. But the content we watch (movies) are based on a 2.4 gamma (BT1886). But if you can't do a 2.4 gamma because you eventually hit the floor of the projector (black won't go lower), the gamma goes DOWN, so stuff in the transfer that should NOT be as high in level has to be. So this equals people saying MORE SHADOW DETAIL, when in reality it is stuff in the image that is HIGHER THAN IT SHOULD BE in relation to everything else. Most people have a very weak understanding of gamma (I had to stop the ISF class I attended the first time because the instructor had absolutely NO clue what gamma was and was putting out information that was WAY off base), so the concept of why lower contrast displays look like they have more shadow detail gets lost.
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post #750 of 2791 Old 02-12-2019, 12:03 PM
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That is an interesting question as most Post Production facilities in Hollywood have Sony projectors and most directors use Sony professional monitors to check scenes. Not to mention that most cinemas around the USA use either Sony, Barco or Christie projectors.
Indeed, and no-one ever really has a good answer for it...
Look, I have my JVC because I like it. I like the black in my room.
But I do struggle with the claims on directors intent.
I'll just say again why I think there are big flaws in the arguments made.

There are some changes coming now we are in HDR - the below is arguably even more pointed:

1) The director is more likely to be involved in the cinematic DCI-P3 release than the home movie market one.
2) The DCI-P3 release targets primarily projection setups in the 2000:1 ish range with 14 FtL/48Nits.
3) We get to watch the home movie release, adjusted by colorist / perhaps some oversight for 100 nits peak / 5-10 nits bias lighting in the room...
4) In our black cinema rooms, on >100,000:1 projectors, with much wrangling over what is the "correct" target gamma for a black room cinema.

I'm really not comfortable with any of the claims on directors intent given the above.

I'm not suggesting we "hobble" our theatres (I'm not going to add a couple of folk in the seat behind me with a tub of popcorn in my ear and their cellphones on). But it really is a question that perplexes me. I'd like to think my room is close to "reference" by the standards I can find that apply. But I still don't necessarily think "director's intent" gets claimed.
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