Originally Posted by coderguy
Here are my findings (roughly), take them for what they are:
Pretty much anything under around 10k:1 to Native is going to sometimes look a bit milky (and more so under 5k:1), regardless of dynamic contrast, even in darkish evening type scenes at an average fL...
The problem with trying to figure out how contrast is going to look is the changes often hit us suddenly.
Hence, at one brightness level doubling the contrast ratio may look miniscule and almost invisible, yet at another brightness level it may look a bit more pronounced.
Tripling to quadrupling the contrast is where it really gets much more pronounced overall, with the exception that at some points even doubling it may be signifcant.
Hence, I often found that native contrast in the lower ranges is VERY easy to see, hence going from 1000:1 to 1500:1 is noticeable, whereas 10k:1 to 15k:1 is barely noticeable.
The differences between 1000:1 and 10,000:1 is MUCH MUCH greater than 10,000:1 to 100,000:1 (not to the black floor, but to 'noticeable' intrascene contrast), unless you really crank up the gamma and brightness in the image. This is just from the non-linearity of how our eyes are interpreting bright scenes.
Even after 10k:1, it starts to get to the point where only darker and darker scenes are affected, until eventually you mainly notice the black floor difference and not actual intrascene contrast advantages.
Below 10k:1, it seems intrascene is very noticeably affected by native contrast in numerous scenes. Not that having 100k:1 never affects intrascene contrast, it's just harder to notice.
I think the pertinent point here is that circa 220,000:1 ON/OFF contrast is going to yield significantly superior and much more 'blacker looking' black levels with very low ADL content than only circa 24,000:1, unless the rate of decline coming out of black / between 0% - 1% ADL is extraordinarily shallow, as per is the case with the SIM2 HDR DUO PLUS. So it's hardly surprising that the JVC significantly outperforms the SONY with respect to very low ADL content.
The fact of the matter is that this is arguably the most important range, because this is where differences in contrast and hence black levels are the most noticeable.
Hence, why I wish SONY would pull their finger out and improve the ON/OFF contrast performance of their projectors.
I mean seriously what the hell SONY, you absolutely nailed ithe contrast peformance with your first native 4K projector model, the 1000ES/1100ES, which measured peak ON/OFF over 300,000:1 but all SONY projector models since have nose-dived as far as ON/OFF contrast performance is concerned. Wherein, the difference in contrast performance between the 1000ES/1100ES, the flagship at the time, and the SONY 5000ES, the new flagship, is utterly ridiculous... we are talking over 300,000:1 versus only circa 10,000 - 15,000:1. That's at least 20 times worse ON/OFF contrast peformance for 3 times the price. I was never happy with this situation and still am not. JVC have achieved 220,000:1 ON/OFF contrast with native 4K, hell it actually measured circa 750,000:1 ON/OFF before JVC had to change the DI functionality via firmware update due to a bug. And SONY's very own 1000ES/1100ES measured over 300,000:1 ON/OFF. So why the hell do all the newer SONY models have such massively lower ON/OFF contrast performance? It does not make sense. Sort it out SONY please! Pretty pretty please with a cherry on top!
I preached to Andre Floyd SONY's head sales and marketing manager for SONY projectors regarding this as well as other matters until I was blue in the face. Andre recently quit SONY to go an work for Kalleidescape. Let's hope the new guy listens better and acts more regarding evolving the range towards achieving the best possible performance. Wherein, the fact of the matter is that we all want and deserve to be seeing SONY projectors with decent ON/OFF contrast performance again, as per the 1000ES/1100ES