O πλεον αναγνωρισμενος reviewer στον πλανητη, Greg Rogers, ανεβασε χθες το review του στο Widescreen Review για την νεα ναυαρχιδα της JVC, τον 990.
Με δυο λογια, ο 990 αποτελει πλεον τον προβολεα αναφορας του, κυριως επειδη καταφερε να βελτιωσει την απιαστη επιδοση του HD-750 στο native on/off contrast με μεγιστη τιμη 60.600:1, 40% μεγαλυτερο στην μικροτερη τιμη ιριδας! Κατα τα αλλα, φαινεται σαν ενας 750 βελτιωμενος στα σημεια, με εξαιρετικο φακο και κορυφαιο κοντραστ (χωρις παντα την αναγκη δυναμικων ιριδων με τους γνωστους περιορισμους απο την χρηση τους). Μια αλλαγη απο τον 750 ειναι το συστημα Clear Motion Drive για ομαλοτερη κινηση (μεσω τεχνικης interpolation) με αναμεικτα αποτελεσματα κατα τον Rogers.
Μεχρι να τον δουμε και στα μερη μας καποια στιγμη, ιδου μερικα αποσπασματα απο το review:
-The new DLA-RS35U D-ILA® video projector is the crown jewel of JVC’s recently updated 1080p Reference Series of home theatre projectors. The DLA-RS35U ($9,995) utilizes selected optical components, and selected and matched D-ILA devices, to become the industry leader in native contrast ratio performance. The RS35 easily surpassed last year’s RS20, to produce the highest native contrast ratio I have ever measured from a lamp-based projector.
-All of the following light output and contrast measurements are for the High lamp power mode. The Normal lamp mode produced about 70 percent of the brightness (lumens) of the High lamp mode.
-The RS35 measured approximately the same brightness as the RS20, but produced significantly higher full-field (on-off) contrast ratios. At the zoom lens minimum throw ratio the RS35 produced 872 lumens and a full-field contrast ratio of 28,900:1 using the maximum lens aperture (0). Reducing the lens aperture to minimum (-15) produced 507 lumens and a contrast ratio of 52,300:1.
-At the zoom lens maximum throw ratio the RS35 produced 645 lumens and a contrast ratio of 42,600:1 with the maximum lens aper- ture. With the minimum lens aperture the projector produced 312 lumens and an unprecedented 60,600:1 contrast ratio.
For review purposes, I mount projectors about 12.75 feet from my 1.3 gain, 87-inch wide, 16:9 Stewart Filmscreen StudioTek G3 screen. That produced 438 lumens using the minimum lens aperture, which is equivalent to 19.2 footLamberts (fL) from the screen. The contrast ratio was still an extraordinary 56,100:1.
The RS35 has by far the best native contrast performance I’ve measured from a lamp-based projector, and yet it still produces excellent brightness for moderately large home theatre screens. The minimum aperture contrast ratios averaged about 40 percent higher than the RS20, which is a significant achievement.
The modified “ANSI” (m-ANSI) contrast ratio measured 315:1. That is good performance, but nearly the same as the RS20, and considerably less than the best 1080p DLP projectors.
The RS35 lens had excellent color correction the red, green, and blue focus tracked together exceptionally well. As a result, there was virtually no chromatic aberration. There was also negligible astigmatism or curvature of field from a 1.75:1 throw ratio.
- The lens had better chromatic aberration than I’ve seen on some much more expensive DLP projectors, and color fringing was never visible at any reasonable viewing distance, even on test patterns.
-Based on my previous experiences with other frame interpolation technologies, I didn’t have high expectations for the Clear Motion Drive function. Moving resolution wedges and zone plate test patterns immediately revealed severe random pixelization, blurred resolution, and some color tinting, when CMD was enabled, although the artifacts were much less severe on 60 Hz video test patterns than 24 Hz film-based test patterns. However, as intended, moving text was definitely clearer to read with both types of source material. Although I didn’t have time to watch a lot of broadcast sports, I was surprised that basketball and football showed subtle improvements in reduced blur, with few disturbing artifacts.
Film sources, however, were another matter. The most positive effect of CMD on movies is the improved readability of moving text, or text that was being panned by the camera. A superb example can be found on the Blu-ray Disc of Layer Cake (2004). There is a long horizontal camera pan across a shelf of distinctively labeled products near the beginning of the movie (1:35). The camera starts and stops as it pans, and each time it is in motion the labels are blurred and hard to read. But with the CMD turned on the labels are much clearer and easy to read. However, in the next scene Daniel Craig walks along a fence that breaks into severe pixelization as the camera pans across the balusters at an angle, which generates a variety of shifting spatial frequencies. Changing the CMD from High to Low had little effect on the severity of the artifacts. Other scenes and other films revealed edge ghosting along with pixelization breakup.
Even if those obvious artifacts were completely eliminated, I still wouldn’t have liked Clear Motion Drive on movies. I want film to look like film, and it doesn’t with frame interpolation. Motion looks like it occurs in a viscous fluid, even on the Low setting. It’s the opposite effect of 3-2 pulldown, which makes film motion irregular. The CMD makes the 24 Hz film motion look and feel like video motion. It’s instantly recognizable that it’s no longer film.
-The key characteristic in which the RS35 excels beyond the already exceptional performance of the RS20 is image contrast. The modified-ANSI (m-ANSI) contrast, which primarily affects intra-image contrast in brighter images, is essentially the same. But the RS35 has about 40 percent more full-field contrast than the RS20, which trans- lates into greater contrast in darker images. Their exceptional contrast ratios also permit higher gammas to be used without obscuring shadow detail, which greatly enhances perceived image depth.
One thing I instantly noticed was how really dark the fade-to-black and black frames are while watching movies. There normally isn’t time for the eye to fully adjust to that level of darkness, and the screen momentarily appears truly black.
Image depth is dependant on a complex interaction between res- olution, sharpness, and intra-image contrast. The latter is a function of the full-field contrast ratio, the m-ANSI contrast ratio, and gamma. Depending on specific scene content, image depth may be influ- enced more by the visibility of fine detail or by the delineation of brightness differences (intra-image contrast). While the best DLP projectors have a slight advantage in sharpness and a higher m-ANSI contrast ratio, the far superior full-field contrast ratio of the RS35 and its subsequently higher useable gamma results in better image depth in most scenes.
-Summary
The JVC DLA-RS35U video projector produced the most out- standing film images I’ve experienced in a home theatre. Its native full-field contrast ratio is an amazing technical achievement surpassing its predecessor as the new leader in the industry. It pro- duces superlative black levels and unprecedented contrast in dark scenes, which allows a CRT-like gamma to be used to render excep- tional image depth in brighter scenes. The fully adjustable 6-axis color-management system (CMS) permits the color gamut to be pre- cisely calibrated to both standard-definition and high-definition col- orimetry standards. The CMS and built-in gamma creation functions, combined with unrivaled native contrast performance, make the DLA- RS35U my preferred reference projector.
