I know our calibrator friends are not a huge fan of the Filmmaker mode simply because it locks out certain controls a calibrator really wants to access.
Talking to one of the Epson engineers, the QB1000 is essentially an LS12000 with more light output. Contrast / color gamut specs are supposed to be similar, so other than brightness, it should do just about as well as the 12000 did vs. the various JVC models did in our 2022 shootout. You can read all about that here - as usual, it's all about what's important to you, brightness (Epson) vs. contrast (JVC): www.thescreeningroomav.com/single-post/results-of-the-tsr-laser-projector-shootout Note we are going to do another JVC / Sony / Epson shootout with Sammie and Kris sometime in the next few months. If interested in attending or reading about it, you might sign up for our newsletter since we will announce all the details there: www.thescreeningroomav.com/subscribe. Like usual with us, it will be a true level playing field comparison, with the projectors compared at their very best picture settings.
Who knows? Obviously we're skeptical. DLPs have known strengths - sharpness and fast motion - and known deficits - poor on/off contrast. We can't imagine a miracle has been performed, but - we'll see.
@@thescreeningroomav8788there are measurements already showing typical dlp contrast and blacks...probably best for that type but thats it..nothing even remotely close to d-ila
Great discussion! Just curious about something: At 1:27:30, I presume the 4100 is on the left. What catches my eye is that starting at the center of the image, it looks like someone drew a line with a green felt pen along the boundary between the sky and the mountain. Or was that meant to be a demonstration of excessive processing?
I think that was when we had the "enhancement" set to +2. We eventually zeroed out all of those controls. Note how close we are in that pic. From normal seating distance the most obvious benefits were overall more detail and a greater sense of depth. Better mixed contrast as well.
Seems JVC has big problems on optical circuit that damages after few hours of work on those new machines, so they've suspended production to investigate wich component fails. The delivery date has been delayed two times last week, now best buy has 12/31/24 like arrival day, but I don't belive they will ship projectors during end of year vacations.
I have an X790 at the closest throw with the aperture fully open for a 120" screen with a 1.1 gain and I really love the blacks and contrast, even at this throw distance and open aperture. How would the blacks and contrast of the NZ500 at the same throw compare to the X790 but with an aperture not fully open on the NZ500?
Thanks for the question! it's hard to answer definitively, but we can say that the contrast numbers we are getting out of the newer projectors we've sold - particularly this latest generation - are very close to what we saw with the generation you currently possess. Certainly having more light means more flexibility, and the opportunity for more contrast. I discussed this briefly with Kris and he agrees with the above take, plus he pointed out that he's never had anyone upgrade from an older eShift model to one of the new native 4K units complain about contrast even once. The improvements in HDR tonemapping alone are huge, plus you are getting more brightness and a more detailed picture. Please feel free to reach out to us at info @ the screening room av dot com if you'd like to dig even deeper. As you might be aware, we've probably had more experience comparing all these projectors side by side than any dealer out there. :)
There are many members that have commented on the clear difference in blacks and contrast when they went from the previous gen to the first 4k gen at least. Many posts on avsforum about that @@thescreeningroomav8788
If you are talking about our demo RS4200 / NZ900, these are the settings: 8K eShift On Graphic Mode High Rez 1 All enhancement settings zeroed out If you'd like more detail, please reach out to us: www.thescreeningroomav.com
When we evaluated it in our showroom? About 14 1/2 ft, lens to screen. Sammie tried a variety of throw distances. Feel free to reach out to us if you want to work out some scenarios - www.thescreeningroomav.com. Thanks!
@ Thanks for the quick response. I have a fixed distance of 20 ft. on a bookshelf in a light controlled room. Is the RS 1200 going to be bright enough. Currently have a 2017 Sony 285es at 1500 lumens on a DA-Lite 110 inch basic grey screen. Want to upgrade to 120 inch screen at reasonable cost.
Good question. I don't think you'll have much problem lighting up a 120" screen, provided it's a neutral gain or higher. We also have done comparative screen shootouts, so can help with all of this. Checking the calculator on Projector Central, it looks like the smallest screen you could do at 20' lens to screen is 127". Is that a possibility? These are early specs, so they could be wrong. What you might do is reach out to us directly - Zach can check all the numbers with JVC and Sammie or Kris. You might send us an email: www.thescreeningroomav.com/contact
@@thescreeningroomav8788 (1) It’s a 16x9 screen in an alcove so 120 inch, I have been told by my local dealer, is about max. (2) In Alberta, Canada so there a dealer sales issues I am sure. The biggest issue is the 40% exchange rate. What is $6000 in the U.S. is $8500 here etc. So I am having to determine what is “enough” to consider as a worthy upgrade. Again thanks for your input/response to a totally “excellent” review! Awesome!!
these things are getting attacked from all sides. Valerion on one end and christie on the other with the realization that new movies need more light for hdr. Hopefully they drop their prices in reaction.
There's some truth to this, but let's remember what HDR stands for - High Dynamic Range. HDR is basically hyper-contrast, not hyper-brightness. If you don't have a low black floor to go along with the high brightness, all you have is high brightness SDR. Contrast numbers need to go up along with brightness, and not just by playing games with light level modulation - a display needs to be able to display deep black and mid-tones simultaneously with bright highlights.
well done guys !
Thank you!
Great overview guys! What's your opinion on Filmmaker Mode vs. other modes on the JVC's? I'm using AutoCal.
I know our calibrator friends are not a huge fan of the Filmmaker mode simply because it locks out certain controls a calibrator really wants to access.
I would love to see a comparison between the NZ700 VS QB1000 for those who have the larger 150” scope screens.
Talking to one of the Epson engineers, the QB1000 is essentially an LS12000 with more light output. Contrast / color gamut specs are supposed to be similar, so other than brightness, it should do just about as well as the 12000 did vs. the various JVC models did in our 2022 shootout. You can read all about that here - as usual, it's all about what's important to you, brightness (Epson) vs. contrast (JVC): www.thescreeningroomav.com/single-post/results-of-the-tsr-laser-projector-shootout
Note we are going to do another JVC / Sony / Epson shootout with Sammie and Kris sometime in the next few months. If interested in attending or reading about it, you might sign up for our newsletter since we will announce all the details there: www.thescreeningroomav.com/subscribe. Like usual with us, it will be a true level playing field comparison, with the projectors compared at their very best picture settings.
What is the time stamp of the torture test scene you mention on BP?
Waiting for the first one to say the Hypelerion is as good 😂😂😂😂
Who knows? Obviously we're skeptical. DLPs have known strengths - sharpness and fast motion - and known deficits - poor on/off contrast. We can't imagine a miracle has been performed, but - we'll see.
@@thescreeningroomav8788there are measurements already showing typical dlp contrast and blacks...probably best for that type but thats it..nothing even remotely close to d-ila
Great discussion!
Just curious about something:
At 1:27:30, I presume the 4100 is on the left.
What catches my eye is that starting at the center of the image, it looks like someone drew a line with a green felt pen along the boundary between the sky and the mountain.
Or was that meant to be a demonstration of excessive processing?
I think that was when we had the "enhancement" set to +2. We eventually zeroed out all of those controls. Note how close we are in that pic. From normal seating distance the most obvious benefits were overall more detail and a greater sense of depth. Better mixed contrast as well.
Seems JVC has big problems on optical circuit that damages after few hours of work on those new machines, so they've suspended production to investigate wich component fails. The delivery date has been delayed two times last week, now best buy has 12/31/24 like arrival day, but I don't belive they will ship projectors during end of year vacations.
I have an X790 at the closest throw with the aperture fully open for a 120" screen with a 1.1 gain and I really love the blacks and contrast, even at this throw distance and open aperture. How would the blacks and contrast of the NZ500 at the same throw compare to the X790 but with an aperture not fully open on the NZ500?
Thanks for the question! it's hard to answer definitively, but we can say that the contrast numbers we are getting out of the newer projectors we've sold - particularly this latest generation - are very close to what we saw with the generation you currently possess. Certainly having more light means more flexibility, and the opportunity for more contrast. I discussed this briefly with Kris and he agrees with the above take, plus he pointed out that he's never had anyone upgrade from an older eShift model to one of the new native 4K units complain about contrast even once. The improvements in HDR tonemapping alone are huge, plus you are getting more brightness and a more detailed picture. Please feel free to reach out to us at info @ the screening room av dot com if you'd like to dig even deeper. As you might be aware, we've probably had more experience comparing all these projectors side by side than any dealer out there. :)
There are many members that have commented on the clear difference in blacks and contrast when they went from the previous gen to the first 4k gen at least. Many posts on avsforum about that @@thescreeningroomav8788
Can you share the sharpness settings on the NZ900 please?
If you are talking about our demo RS4200 / NZ900, these are the settings:
8K eShift On
Graphic Mode High Rez 1
All enhancement settings zeroed out
If you'd like more detail, please reach out to us: www.thescreeningroomav.com
What was the throw distance for the RS 1200?
When we evaluated it in our showroom? About 14 1/2 ft, lens to screen. Sammie tried a variety of throw distances. Feel free to reach out to us if you want to work out some scenarios - www.thescreeningroomav.com. Thanks!
@ Thanks for the quick response. I have a fixed distance of 20 ft. on a bookshelf in a light controlled room. Is the RS 1200 going to be bright enough. Currently have a 2017 Sony 285es at 1500 lumens on a DA-Lite 110 inch basic grey screen. Want to upgrade to 120 inch screen at reasonable cost.
Good question. I don't think you'll have much problem lighting up a 120" screen, provided it's a neutral gain or higher. We also have done comparative screen shootouts, so can help with all of this. Checking the calculator on Projector Central, it looks like the smallest screen you could do at 20' lens to screen is 127". Is that a possibility? These are early specs, so they could be wrong. What you might do is reach out to us directly - Zach can check all the numbers with JVC and Sammie or Kris. You might send us an email: www.thescreeningroomav.com/contact
@@thescreeningroomav8788 (1) It’s a 16x9 screen in an alcove so 120 inch, I have been told by my local dealer, is about max. (2) In Alberta, Canada so there a dealer sales issues I am sure. The biggest issue is the 40% exchange rate. What is $6000 in the U.S. is $8500 here etc. So I am having to determine what is “enough” to consider as a worthy upgrade. Again thanks for your input/response to a totally “excellent” review! Awesome!!
these things are getting attacked from all sides. Valerion on one end and christie on the other with the realization that new movies need more light for hdr. Hopefully they drop their prices in reaction.
There's some truth to this, but let's remember what HDR stands for - High Dynamic Range. HDR is basically hyper-contrast, not hyper-brightness. If you don't have a low black floor to go along with the high brightness, all you have is high brightness SDR. Contrast numbers need to go up along with brightness, and not just by playing games with light level modulation - a display needs to be able to display deep black and mid-tones simultaneously with bright highlights.