Originally Posted by darinp
Originally Posted by ceenhad
When you have more than 3x the peak light output of others it is also not too hard to come up with solutions to match the black level that the target room is capable of ...
If the room has all lights off and no light leaking in then the absolute black level it is capable of is no visible light, even if the room is white. No matter how much light there is for white there is no solution that can match how low the room can go, if you don't have enough on/off CR.
In the example you give then I don?t think any projection technology yet delivers the contrast that the room is capable of, however I am not sure it reallly represents the reality of most home cinemas.
First outside the extreme enthusiast niche no one has a completely black room with matt surfaces that totally eliminate reflection. Thus during normal viewing there is always some reflected light that raises the black level. This is ANSI rather than on/off of course but ties into...
Second, I have only very rarely visited home cinemas where there is a total absence of light at any time. You do find that most of the population likes a little lighting in their cinema when it is in use. Things like stair lighting, cup holder lights, the Led keypad on the wall, ceiling wash lights etc etc. Some people even love their bright blue ?bias lights? around the screen!!!
What?s my point? I personally see little benefit to arguing these theoretical points as they do not often have any impact in the real world. If the only buying point was the ultimate black level to be found in the velvet lined room of the client (and these room certainly exist) they would be best served by taking a lamp based jvc.
For the rest of the market though the discussion can be very different. When you have a little light to start with that ansi number becomes very important to keep depth in the Image. A lamp based JVC on the typical 12-15ft screens I see in the cinemas I visit is a pretty limp affair. Deep, often crushed, blacks and a flat and 2d feel to the Image. The opening bank robbery scene from the dark knight is still a favourite that people like to show and for me it illustrates the effect very clearly.
On a similar note I had the opportunity to often see the Sony vw1100 side by side / split screen against the Barco Orion as it hang in the showroom of one of my dealers. I remember the initial demos with the Elysium space scenes and as the small ship moved out of the star field to the Elysium you could see the background black noticeabley lighten. It started off a bit darker than Orion (which has a mechanical lens iris) but ended up lighter which in the end seemed much more distracting.
The point I am making is that by always only focusing on the black level we risk forgetting the real world where in the majority of cases, the room itself does remain a limiting factor. In these cases the peak light is very welcome, then we can use all the mechanical options to decrease black (Balder and below have variable lens iris), the laser illumination can be programmed in 1% increments down to about 50% and then if we have to external light filtration is still an option.
Thus you can match what the real world target is for the room.
As a final note, the larger Barco DLP models without Iris (Loki and above) are really not the lowest black level but have huge light output for larger screens. The smaller models (Balder and below) can be matched well to most situations. In all cases ANSI remains high at 600+ and often more.