From the feedback we received from the crowd, the contrast performance was so strong that just about everyone we talked to thought it was the clear “winner” of this first round. John is particularly sensitive to edge enhancement artifacts, and thought Kris and Sony made the right call here, noting that this setting did create a pleasing effect without looking artificial.įor many, this was the surprise of the show. However, we did not see much in the way of objectionable artifacts at the low, 20% level DRC was set to. How much Sony's DRC affected sharpness we can’t say. It’s worth noting that all detail enhancement processing in the other projectors was turned off. Per the discussion with the Sony reps, their Digital Reality Creation (DRC) sharpness enhancement was turned on, but at a low level (mutually agreed upon by Kris and the Sony reps). We saw what they were talking about – a slight sharpening that made fine details stand out a bit more. ![]() A couple of people thought the Sony looked ever so slightly sharper on scenes with fine detail (like the roof on the farmhouse in the FARMAGGEDON clip, or some of Paul Rudd’s facial textures on the GHOSTBUSTERS clip). KONG looked stunning on all three, as this is the kind of bright, colorful, contrasty material that makes people go “wow.” And “wow” it did. ![]() Eye candy like the day-glow city battle from GODZILLA VS. The bright scenes from GHOSTBUSTERS: AFTERLIFE, FARMAGEDDON, and THE MEG all looked sharp and colorful, and it was often difficult to tell much difference between them. TSR Crew: with bright content, all three of these projectors looked terrific. All contrast measurements were taken in these sessions, off the screen, and represent the “native” contrast performance of the projector for that calibration session. Measurements for the calibration sections of each projector are reported for these conditions with the exception of dynamic contrast, which was disabled for the calibration session. For HDR comparisons, all of the projectors were shown in their higher light output (high lamp/laser, fully-open apertures (if available), no color filters used (for JVCs that featured it). The JVCs used their “Theater Optimizer” HDR processing for HDR comparisons. The NZ8/9 had their “e-ShiftX” enabled, but all enhancements were off. JVC projectors were shown with native contrast (no dynamic contrast features were used) and all of their sharpening features were disabled. Epson’s projector used their dynamic contrast (laser dimming) as well as some of their sharpening features. Sony projectors had various enhancements enabled such as their Reality Creation enhancement, smooth gradation and their HDR Contrast enhancer. The Sony and Epson projectors used their “dynamic laser dimming” to improve their contrast performance for ALL of the comparisons. Settings were reviewed with the manufacturers for the JVC and Sony projectors Epson did not have a representative available for the event. NOTES ON SETUP: All projectors were calibrated to 100 nits for the SDR (Standard Dynamic Range) test comparisons. All the content that was used for evaluation and all of the settings in each projector were agreed upon by all of the manufacturing reps and Kris to provide examples of a wide range of content to display the capabilities of all the projectors used in the event. Kris and our crew were able to spend some “quality time” with each manufacturer and both Sony and JVC were very open to input about what all of us thought could be done to improve their products. ![]() This manufacturer involvement was tremendously appreciated as it helped initiate a dialogue between the engineers who make these products and those of us who deal with them in the field. Kris spent almost an entire week in the dark of our showroom meticulously calibrating each projector, with the final tweaking process open to both the Sony and JVC reps that attended the event. Kris is the owner/operator of Deep Dive AV, a professional calibration and consulting service, and is also a technical editor and contributing writer for Sound and Vision magazine. Most of the credit for the setup and running of the shootout itself must go to Kris Deering.
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