JMB
07-27-2005, 04:30 PM
I'm strongly considering buying one.
thanx!
thanx!
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View Full Version : Any opinions on the JVC HD56G886?
gparris
07-27-2005, 11:16 PM
If the 52" JVC that Flashjeff has and my friend who loves hers is ANY indication...go for it!
Visit the store that has them and compare it to the DLP and LCD RPTVs if at all possible as we did and got the JVC HD-ILA sets.
Visit the store that has them and compare it to the DLP and LCD RPTVs if at all possible as we did and got the JVC HD-ILA sets.
JMB
07-28-2005, 09:52 AM
The picture is definitely the best I've seen. I'm just wondering if they've addressed the two issues I've read about, which are the fan noise and the contrast not being up to snuff?
gparris
07-28-2005, 01:54 PM
We listened to the fan noise - what there is of it - behind all three 70" sets on that quiet night in the store (I always pick weeknights when it is less busy) and heard nothing loud or unusual and at her home, when you "have" to listen for it, it is not an issue.
Since the set is so bright, turning down the brightness and contrast levels assisted in bringing out much better levels of both...like I mentioned before, the JVC was best against those other 2 LCD RPTV models and doesn't have the rainbow issues of DLP, which looked a little dark to us for the same size 52" to 52" compared in the store, too.
Since the set is so bright, turning down the brightness and contrast levels assisted in bringing out much better levels of both...like I mentioned before, the JVC was best against those other 2 LCD RPTV models and doesn't have the rainbow issues of DLP, which looked a little dark to us for the same size 52" to 52" compared in the store, too.
JMB
07-28-2005, 02:27 PM
Just went and bought it. Got it for $2200.
gparris
07-28-2005, 09:41 PM
I hope you love it as much as she does since she is very picky about her HDTV pictures, she loves Sci-Fi shows (plenty of dark scenes) and is a scientist, so is quick and logical about all this. If I like the set better than the ones I got and she loves the set and sold her older 46" Mits CRT RPTV over it, I guess you will love your set, too.
Did you get the JVC HD56G886 for $2200 or the 52" like Flashjeff and she did?
Did you get the JVC HD56G886 for $2200 or the 52" like Flashjeff and she did?
JMB
07-29-2005, 10:00 AM
The former and I eagerly await its arrival, Sunday. :)
gparris
07-29-2005, 01:46 PM
For a 56" model, JVC HD56G886, $2200 is great price, the same as was bought for the 52" she has, so the prices must have come down since then.
Let us know about it when you get it...thanks.
Let us know about it when you get it...thanks.
JMB
07-29-2005, 02:53 PM
I played Brandsmart and HHGreg against each other... :)
Will do on how it works.
Will do on how it works.
videobruce
07-30-2005, 06:36 PM
Sound and Vision magazine just did a review on the 61" version;
http://www.soundandvisionmag.com/article.asp?section_id=3&article_id=852&page_number=1
http://www.soundandvisionmag.com/article.asp?section_id=3&article_id=852&page_number=1
JMB
08-12-2005, 02:05 PM
I have no complaints and when the cable folks finally brought my HD box... OOOO MMMM GGGG!
VERY impressive!
VERY impressive!
gparris
08-12-2005, 02:08 PM
Glad you are pleased as the others are. Saw your 56" JVC HD-ILA at BB and it was the best in the grouping of sets with the same programme at the time.
videobruce
08-28-2005, 08:35 AM
Three out of the four new 'G' series (two 56" and two 52") only one had issues with CA (chromatic abberation) and none seem to have any purity issues at all.
The time to change HD channels and switch inputs is terribly slow though!
The time to change HD channels and switch inputs is terribly slow though!
WeAreNotAlone69
08-30-2005, 11:37 AM
The picture is definitely the best I've seen. I'm just wondering if they've addressed the two issues I've read about, which are the fan noise and the contrast not being up to snuff?
Fan noise = put some type of material to absorb noise behind tv... Drapes, etc....
Contrast = Service manual lists as 1000 to 1 ratio.
Contrast not being up to snuff? While it's true a HD-ILA is not going to give the same amount as a CRT set... JVC has been supplying D-ILA-based products for commercial and high-end home-theater applications for many years.
* * * *
HD-ILA is JVC’s term for its high-definition Liquid Crystal on Silicon (LCoS) microdisplay technology. As the first 720p three-chipLCoS rear-projection HDTV monitor in America, JVC’s $4500 HD-52Z575 represents a competitive challenge to current DLP and LCD rear-projection units. JVC has the longest history with
the technology, and has been supplying D-ILA-based products for commercial and high-end home-theater applications for many years.
The short history of LCoS has been one of glory and struggle. Looking back, I encountered JVC’s first D-ILA rear projector in 2001 when I reviewed its D’Ahlia model with 1365x1024 resolution JVC had production problems with its unique but unproven color filter, and the D’Ahlia was discontinued shortly thereafter. In late 2002, I previewed
the first 1080p LCoS HDTV rear projector, the Toshiba 57HLX82, with a review following early in 2003.
It, too, ran into problems. This time the problem was with the LCoS chips inside the unit (not supplied by Toshiba), and it, too, became history. In early 2004, I reviewed the
Mitsubishi 1080p LCoS projector. It was successful, but very expensive, very big (82”), and hard to find.
Philips introduced its 720p LCoS projector in late 2003 and became the first vendor with a mass-produced LcoS RPTV, but it has only one chip and, now in its third generation, still has its own issues (see my review elsewhere in this issue for details).
When I unpacked and turned on the 52" HD-52Z575, I immediately noticed the bright image and how well the set maintained this light level as I moved away from screen center. (The brightness drop-off of the single-chip 720p LCoS set I had previously reviewed was considerable greater.)
This new JVC set is a tabletop model with silver base and sides, and a black screen bezel. The screen has a new type of shield with a fused-on anti-glare coating that is showing up
on a number of 2004 models. Its finish appears dull and diffuses room reflections well, kind of like a steamed-up bathroom mirror does. The set’s profile is slim, with a depth of just 16.25 inches. The depth at the very top of the screen bezel is less than two and one-half inches, making placement of a center speaker on top of the TV impossible. Some setmakers are making a shelf area located at the top center of the cabinet—a good idea that JVC should consider in the future.
The HD-52Z575 has four sets of analog video inputs plus an HDMI digital interface. The analog ones are doubled up, with composite and component (480i, 480p, 720p and 1080i) on Inputs One and Two. Input Two also has an S-video input. Inputs Three and Four have both composite and S-video, and all inputs have left-right RCA audio jacks. The fourth input is located on the right side of the cabinet along with the buttons for major functions.
JVC’s remote control is a backlit affair with individual direct-access input buttons. (Yeah!) Navigation is via a multi-page graphic user interface. The
result of my “number of button pushes to change contrast” test is…well, it depended. The menu returns to where you left it, so if you just adjusted the
contrast then you could call it three; if you are a few pages away, it could be as many as fifteen, though I doubt whether anyone would venture back
into the set-up pages once setup has been completed. Overall I rate the interface
very good, with a star for not placing the GUI over the areas of the screen I need to use for setting the user controls with industry standard test patterns. I guess the software engineers at JVC are actually aware of how to properly adjust a display.
There are four aspect ratios for 480i/p signals: FULL (anamorphic), CINEMA ZOOM (proportional), PANORAMA (nonlinear stretch), and REGULAR (4:3 with gray sidebars). With 720p or 1080i signals, the 4:3 ratio is not available.
There are four picture modes, STANDARD, DYNAMIC, THEATER, and GAME—each with its own user settings. I used THEATER for my evaluations.
Fortunately, it provides two sets of user settings, one for 480i/p signals and another for HD (720p/1080i sources). In addition to the litany of usual controls such as V-chip, detail, video noise reduction etc. there are a few exclusive to JVC. These include COLOR
MANAGEMENT, “to ensure dull colors are compensated [for]” (according to the owner’s manual). Best I could determine it increased the saturation of red, magenta, and cyan without affecting the other primary and secondary colors. I left it off. There are two color temperature settings, HIGH and LOW, plus a button on the remote for 6500K (which the set wasn’t when I measured it before calibration—more on this
later). There is also a DYNAMIC GAMMA mode which “analyzes and adjusts the total level of picture brightness,” according to the manual. Its effects appeared to be quite subtle, but I left it off for my picture evaluations.
Measurements
Before I begin revealing what I found, I want to explain some of the major differences between this D-ILA projector using a three-chip LCoS engine and the current DLPs and LCD microdisplay rear-projection displays. All DLP RPTVs use a color wheel. Some people (including me) have a tendency to see (VIDEO REVIEW November/December 2004 x www.theperfectvision.com 49) occasional (yet disturbing) persistence-off vision artifacts—flashes of red, blue, and green stripes within the image, often called “rainbows.” All LCD projectors and this JVC (as well as the aforementioned Mitsubishi) have three chips and are immune to this phenomenon, because like a CRT-based projector they produce continuous color. Single-chip displays project the three primary colors sequentially; three-chip displays project the three primary colors simultaneously.
A D-ILA set has the best “fill factor” of all the current microdisplays, meaning there is very little space between the pixels. In fact, pixels are packed so tightly that I had to be about a foot away from the screen to see any pixel structure. While the competing technologies are tight, too, DILA and LCoS are the tightest.
I began with the geometry test. The result was quite good, though the picture
did exhibit slight vertical keystoning and very slight vertical pincushion distortion. Horizontal lines were perfect; a stock ticker on the news programs appears as flat as a board. There were, however, chromatic aberrations on the left edge of the screen—green on one side of a vertical white line and red to blue on the other. At the left edge of the screen, I measured this aberration at about two pixels wide—a little more than I prefer to see. The lack of symmetry of the aberrations may have been caused by a slight misalignment of the light engine. I did not have a chance to view another sample, so I do not know if this is typical. I switched to the focus pattern and confirmed good uniformity, a hallmark of a well-designed microdisplay. Overscan was about 3% using component-video inputs. For some reason, the DVI images were not properly centered, with the image shifted to the outside edge of the test pattern on the left, cutting off about 8% on the right. However, I did not notice this when using DVI/HDMI sources, such as a high definition DirecTV TiVo. SMPTE color bars revealed an accurate color matrix without red push. I measured the primary color points of red, blue, and green against the HDTV standard. Red was virtually perfect at x .647, y .329 (standard is x .64, y .330); blue was very close at x .135, y .05 (standard is x .15, y .06). Green was near perfect along the x axis (.29) but too high in the y (.686), giving the green test bar a Gatorade look (the standard is x .30, y .60). Gamma measured an excellent average value of 2.33. Color
before calibration in THEATER PRO mode measured between 11,200K and
12,400K. There is only a single control for each color in the service mode; nevertheless, I was able to get at or very near 6500K from 20–100 IRE. The blacks were not as dark as the latest DLPs, but dark enough for viewing with some ambient light on. There was a slight but noticeable dark purple cast on the right side of the screen (0 IRE) in a dark room, but this was only visible when I turned off the room lights. I moved on to the sharpness test. With component video I was able to see the one-pixel-on/one-pixel-off vertical line pattern; however, it was more of a light gray/dark gray than a black
and a white (as it should have been). With a DVI connection, the oneon/ one-off pattern was completely obliterated.
Viewing
I began with cable signals. The JVC scaling circuit did a very good job of converting 480i to the TV’s native 720p matrix. There was never a waxy look to faces. This TV processes 10-bit video, and the result is the absence of dithering artifacts. Previously I had only seen 8-bit microdisplays, and freedom from this type of artifact in a microdisplay rear projector was quite amazing. I did not notice any mosquito noise (best described as a noisy fuzziness around the edge of objects against a backround), either. I moved on to DVD discs first with 480i and 480p component and next via the Samsung 931 DVD player’s DVI output. I used a DVI-to-HDMI breakout cable, setting the player to 720p output. I popped in my old standby The Fifth Element and was quite pleased with the detail, smoothness, and color—from the sparkles on the Diva’s face to the crimson reds of Ruby Rod’s outlandish costume. When I moved on to HDTV sources, the JVC really shined. Baseball, movies, TV series all looked pleasing with little to complain about. I particularly like the way Cold Case is shot. High detail with many close-ups in a variety of indoor and outdoor scenes, sometimes wacky lighting, and, of course, the many flashbacks. What I didn’t see were distractions such as false contours, rainbows, exaggerated reds, or crushed whites. I got to look at the programs, not the defects, as some of us reviewers have a tendency to do. I find some of the best HD content on HDNet, EquatorHD (VOOM’s all-HD travel channel), and Discovery HD. The smoothness of the images on these pristine channels made the real-life content much more involving.
Conclusion
JVC has a winner with the new HD- 52Z575 rear-projector. Its D-ILA technology makes a bright, impressive image with many advantages over competing designs. There is some room for improvement regarding aberrations, black level, and DVI resolution, but in its first three-chip effort, JVC has equaled or surpassed many of its single-chip rivals. If you are in the market for a microdisplay rear projector, you should definitely put the HD 52Z575 on your short list and be sure to give it a look before making a buying decision.
VIDEO REVIEW
SPECIFICATIONS
Type: Three-chip D-ILA RPTV
Size: 52" diagonal, 16:9
Inputs: Two component video, one HDMI with L/R
analog audio, four sets composite-L/R audio (three
with S-video, as well)
Dimensions: 49 7/8" x 36" x 16"
Weight: 84 lbs.
JVC COMPANY OF AMERICA
1700 Valley Road
Wayne, New Jersey 07470
(800) 252-5722
www.jvc.com
Price: $4500
Fan noise = put some type of material to absorb noise behind tv... Drapes, etc....
Contrast = Service manual lists as 1000 to 1 ratio.
Contrast not being up to snuff? While it's true a HD-ILA is not going to give the same amount as a CRT set... JVC has been supplying D-ILA-based products for commercial and high-end home-theater applications for many years.
* * * *
HD-ILA is JVC’s term for its high-definition Liquid Crystal on Silicon (LCoS) microdisplay technology. As the first 720p three-chipLCoS rear-projection HDTV monitor in America, JVC’s $4500 HD-52Z575 represents a competitive challenge to current DLP and LCD rear-projection units. JVC has the longest history with
the technology, and has been supplying D-ILA-based products for commercial and high-end home-theater applications for many years.
The short history of LCoS has been one of glory and struggle. Looking back, I encountered JVC’s first D-ILA rear projector in 2001 when I reviewed its D’Ahlia model with 1365x1024 resolution JVC had production problems with its unique but unproven color filter, and the D’Ahlia was discontinued shortly thereafter. In late 2002, I previewed
the first 1080p LCoS HDTV rear projector, the Toshiba 57HLX82, with a review following early in 2003.
It, too, ran into problems. This time the problem was with the LCoS chips inside the unit (not supplied by Toshiba), and it, too, became history. In early 2004, I reviewed the
Mitsubishi 1080p LCoS projector. It was successful, but very expensive, very big (82”), and hard to find.
Philips introduced its 720p LCoS projector in late 2003 and became the first vendor with a mass-produced LcoS RPTV, but it has only one chip and, now in its third generation, still has its own issues (see my review elsewhere in this issue for details).
When I unpacked and turned on the 52" HD-52Z575, I immediately noticed the bright image and how well the set maintained this light level as I moved away from screen center. (The brightness drop-off of the single-chip 720p LCoS set I had previously reviewed was considerable greater.)
This new JVC set is a tabletop model with silver base and sides, and a black screen bezel. The screen has a new type of shield with a fused-on anti-glare coating that is showing up
on a number of 2004 models. Its finish appears dull and diffuses room reflections well, kind of like a steamed-up bathroom mirror does. The set’s profile is slim, with a depth of just 16.25 inches. The depth at the very top of the screen bezel is less than two and one-half inches, making placement of a center speaker on top of the TV impossible. Some setmakers are making a shelf area located at the top center of the cabinet—a good idea that JVC should consider in the future.
The HD-52Z575 has four sets of analog video inputs plus an HDMI digital interface. The analog ones are doubled up, with composite and component (480i, 480p, 720p and 1080i) on Inputs One and Two. Input Two also has an S-video input. Inputs Three and Four have both composite and S-video, and all inputs have left-right RCA audio jacks. The fourth input is located on the right side of the cabinet along with the buttons for major functions.
JVC’s remote control is a backlit affair with individual direct-access input buttons. (Yeah!) Navigation is via a multi-page graphic user interface. The
result of my “number of button pushes to change contrast” test is…well, it depended. The menu returns to where you left it, so if you just adjusted the
contrast then you could call it three; if you are a few pages away, it could be as many as fifteen, though I doubt whether anyone would venture back
into the set-up pages once setup has been completed. Overall I rate the interface
very good, with a star for not placing the GUI over the areas of the screen I need to use for setting the user controls with industry standard test patterns. I guess the software engineers at JVC are actually aware of how to properly adjust a display.
There are four aspect ratios for 480i/p signals: FULL (anamorphic), CINEMA ZOOM (proportional), PANORAMA (nonlinear stretch), and REGULAR (4:3 with gray sidebars). With 720p or 1080i signals, the 4:3 ratio is not available.
There are four picture modes, STANDARD, DYNAMIC, THEATER, and GAME—each with its own user settings. I used THEATER for my evaluations.
Fortunately, it provides two sets of user settings, one for 480i/p signals and another for HD (720p/1080i sources). In addition to the litany of usual controls such as V-chip, detail, video noise reduction etc. there are a few exclusive to JVC. These include COLOR
MANAGEMENT, “to ensure dull colors are compensated [for]” (according to the owner’s manual). Best I could determine it increased the saturation of red, magenta, and cyan without affecting the other primary and secondary colors. I left it off. There are two color temperature settings, HIGH and LOW, plus a button on the remote for 6500K (which the set wasn’t when I measured it before calibration—more on this
later). There is also a DYNAMIC GAMMA mode which “analyzes and adjusts the total level of picture brightness,” according to the manual. Its effects appeared to be quite subtle, but I left it off for my picture evaluations.
Measurements
Before I begin revealing what I found, I want to explain some of the major differences between this D-ILA projector using a three-chip LCoS engine and the current DLPs and LCD microdisplay rear-projection displays. All DLP RPTVs use a color wheel. Some people (including me) have a tendency to see (VIDEO REVIEW November/December 2004 x www.theperfectvision.com 49) occasional (yet disturbing) persistence-off vision artifacts—flashes of red, blue, and green stripes within the image, often called “rainbows.” All LCD projectors and this JVC (as well as the aforementioned Mitsubishi) have three chips and are immune to this phenomenon, because like a CRT-based projector they produce continuous color. Single-chip displays project the three primary colors sequentially; three-chip displays project the three primary colors simultaneously.
A D-ILA set has the best “fill factor” of all the current microdisplays, meaning there is very little space between the pixels. In fact, pixels are packed so tightly that I had to be about a foot away from the screen to see any pixel structure. While the competing technologies are tight, too, DILA and LCoS are the tightest.
I began with the geometry test. The result was quite good, though the picture
did exhibit slight vertical keystoning and very slight vertical pincushion distortion. Horizontal lines were perfect; a stock ticker on the news programs appears as flat as a board. There were, however, chromatic aberrations on the left edge of the screen—green on one side of a vertical white line and red to blue on the other. At the left edge of the screen, I measured this aberration at about two pixels wide—a little more than I prefer to see. The lack of symmetry of the aberrations may have been caused by a slight misalignment of the light engine. I did not have a chance to view another sample, so I do not know if this is typical. I switched to the focus pattern and confirmed good uniformity, a hallmark of a well-designed microdisplay. Overscan was about 3% using component-video inputs. For some reason, the DVI images were not properly centered, with the image shifted to the outside edge of the test pattern on the left, cutting off about 8% on the right. However, I did not notice this when using DVI/HDMI sources, such as a high definition DirecTV TiVo. SMPTE color bars revealed an accurate color matrix without red push. I measured the primary color points of red, blue, and green against the HDTV standard. Red was virtually perfect at x .647, y .329 (standard is x .64, y .330); blue was very close at x .135, y .05 (standard is x .15, y .06). Green was near perfect along the x axis (.29) but too high in the y (.686), giving the green test bar a Gatorade look (the standard is x .30, y .60). Gamma measured an excellent average value of 2.33. Color
before calibration in THEATER PRO mode measured between 11,200K and
12,400K. There is only a single control for each color in the service mode; nevertheless, I was able to get at or very near 6500K from 20–100 IRE. The blacks were not as dark as the latest DLPs, but dark enough for viewing with some ambient light on. There was a slight but noticeable dark purple cast on the right side of the screen (0 IRE) in a dark room, but this was only visible when I turned off the room lights. I moved on to the sharpness test. With component video I was able to see the one-pixel-on/one-pixel-off vertical line pattern; however, it was more of a light gray/dark gray than a black
and a white (as it should have been). With a DVI connection, the oneon/ one-off pattern was completely obliterated.
Viewing
I began with cable signals. The JVC scaling circuit did a very good job of converting 480i to the TV’s native 720p matrix. There was never a waxy look to faces. This TV processes 10-bit video, and the result is the absence of dithering artifacts. Previously I had only seen 8-bit microdisplays, and freedom from this type of artifact in a microdisplay rear projector was quite amazing. I did not notice any mosquito noise (best described as a noisy fuzziness around the edge of objects against a backround), either. I moved on to DVD discs first with 480i and 480p component and next via the Samsung 931 DVD player’s DVI output. I used a DVI-to-HDMI breakout cable, setting the player to 720p output. I popped in my old standby The Fifth Element and was quite pleased with the detail, smoothness, and color—from the sparkles on the Diva’s face to the crimson reds of Ruby Rod’s outlandish costume. When I moved on to HDTV sources, the JVC really shined. Baseball, movies, TV series all looked pleasing with little to complain about. I particularly like the way Cold Case is shot. High detail with many close-ups in a variety of indoor and outdoor scenes, sometimes wacky lighting, and, of course, the many flashbacks. What I didn’t see were distractions such as false contours, rainbows, exaggerated reds, or crushed whites. I got to look at the programs, not the defects, as some of us reviewers have a tendency to do. I find some of the best HD content on HDNet, EquatorHD (VOOM’s all-HD travel channel), and Discovery HD. The smoothness of the images on these pristine channels made the real-life content much more involving.
Conclusion
JVC has a winner with the new HD- 52Z575 rear-projector. Its D-ILA technology makes a bright, impressive image with many advantages over competing designs. There is some room for improvement regarding aberrations, black level, and DVI resolution, but in its first three-chip effort, JVC has equaled or surpassed many of its single-chip rivals. If you are in the market for a microdisplay rear projector, you should definitely put the HD 52Z575 on your short list and be sure to give it a look before making a buying decision.
VIDEO REVIEW
SPECIFICATIONS
Type: Three-chip D-ILA RPTV
Size: 52" diagonal, 16:9
Inputs: Two component video, one HDMI with L/R
analog audio, four sets composite-L/R audio (three
with S-video, as well)
Dimensions: 49 7/8" x 36" x 16"
Weight: 84 lbs.
JVC COMPANY OF AMERICA
1700 Valley Road
Wayne, New Jersey 07470
(800) 252-5722
www.jvc.com
Price: $4500
videobruce
08-31-2005, 02:09 AM
I have been leaning towards this set for some time, but after a couple of days of more intense testing I'm not sure.
I own a B&K signal generator that I purchased for my up-comming HD set (the one I still don't have yet). I took the SG into 3 different stores and compared the 52" 'G' series with a Mits LCD and a Toshiba DLP (in two of the stores).
After turning all the 'auto' controls off and setting the color temp. to low, I looked at SMPTE color bars and the grey scale pattern and adjusted the contrast and brightness the best I could using the 'preference' setting (I think that was what it was called).
What I saw on 3 different sets (same model) was (other than a too bright image) a roll off of the 13.5 MHz packet on a multiburst pattern on the JVC (and a worse roll off on the Toshiba). The Mits was fine. What that looked like was, with regular HD material, facial closeups were softer on this set. The set's pic was softer that the others, but not as bad as the Samsung DLP that I have seen elsewhere.
There was little convergence issues with any of the three sets and CA wasn't there either.
I also looked at 4x3 SD materail and looked closer at the grey side bars. The bars varied in brightness that I have not read anywhere. At first I thought it was a problem with the set I was looking at, but I tried another set with the signal generator hooked up and by varing the Y level the gery side bars varied in brightness.
It was very distracting. Can't believe no one else has mentioned this!
I looked at the edges of the 4x3 image and the sides were straight. I remember reading this was a complaint in at least one review. The Mits's sides were bowed inwards (if I remember correctly), but no grey side bars.
The Mits has the SSE, but at least is isn't the dreaded 'rainbow' issue. :boo2:
Jury is still out.............. :(
I own a B&K signal generator that I purchased for my up-comming HD set (the one I still don't have yet). I took the SG into 3 different stores and compared the 52" 'G' series with a Mits LCD and a Toshiba DLP (in two of the stores).
After turning all the 'auto' controls off and setting the color temp. to low, I looked at SMPTE color bars and the grey scale pattern and adjusted the contrast and brightness the best I could using the 'preference' setting (I think that was what it was called).
What I saw on 3 different sets (same model) was (other than a too bright image) a roll off of the 13.5 MHz packet on a multiburst pattern on the JVC (and a worse roll off on the Toshiba). The Mits was fine. What that looked like was, with regular HD material, facial closeups were softer on this set. The set's pic was softer that the others, but not as bad as the Samsung DLP that I have seen elsewhere.
There was little convergence issues with any of the three sets and CA wasn't there either.
I also looked at 4x3 SD materail and looked closer at the grey side bars. The bars varied in brightness that I have not read anywhere. At first I thought it was a problem with the set I was looking at, but I tried another set with the signal generator hooked up and by varing the Y level the gery side bars varied in brightness.
It was very distracting. Can't believe no one else has mentioned this!
I looked at the edges of the 4x3 image and the sides were straight. I remember reading this was a complaint in at least one review. The Mits's sides were bowed inwards (if I remember correctly), but no grey side bars.
The Mits has the SSE, but at least is isn't the dreaded 'rainbow' issue. :boo2:
Jury is still out.............. :(
realmccloy
12-04-2005, 04:27 AM
I purchased the JVC HD-52G886 on Oct. 21st when my JVC I'Art 56" widescreen HDTV (3.5 years old) blue a chip and the red conversion went haywire. Immediately, I was impressed with the brightness and how vivid the colors were. I use my set between 4-6 hours per day. A few days ago, I noticed that the set is about 20% dimmer than it was the previous day. Very strange. I have read some consumers posts on other forums where people are having similar issues, albeit not as quickly as me.
Typically, I am seeing people totally blowing bulbs prior to 700 hours of useage. This is a bit disheartening to hear. Luckily, I do have a 4 year warranty which includes bulb replacement. However, I am certain they will only repair once it blows entirely which means I have to put up with a picture that in my eyes is now subpar than the picture that first completely wow'd me.
Typically, I am seeing people totally blowing bulbs prior to 700 hours of useage. This is a bit disheartening to hear. Luckily, I do have a 4 year warranty which includes bulb replacement. However, I am certain they will only repair once it blows entirely which means I have to put up with a picture that in my eyes is now subpar than the picture that first completely wow'd me.
videobruce
12-04-2005, 10:06 AM
realmccloy; Did you get it fixed? Sounds as a convergence board replacement. Should be easy to do.
WeAreNotAlone69; that write up you did last August was very good. You do have this set, correct? If so, do you have a computer hooked up to it and what card are you using?
Also, for those that have OTA and cable (w/o a STB) using an external switch, how does the tuner handle the two types of signals together (ATSC & QAM)?
WeAreNotAlone69; that write up you did last August was very good. You do have this set, correct? If so, do you have a computer hooked up to it and what card are you using?
Also, for those that have OTA and cable (w/o a STB) using an external switch, how does the tuner handle the two types of signals together (ATSC & QAM)?
57U
12-04-2005, 12:14 PM
...Sounds as a convergence board replacement.
The TV is an LCoS. Do LCoS TVs have a convergence board?
The TV is an LCoS. Do LCoS TVs have a convergence board?
videobruce
12-04-2005, 12:42 PM
The 'JVC I'Art 56' is a Microdisplay? :wow:
Sorry, I thought it was a tube RPTV. Then I would say light engine replacement time, or at least service call time.
Sorry, I thought it was a tube RPTV. Then I would say light engine replacement time, or at least service call time.
Ratman
12-04-2005, 01:12 PM
The TV is an LCoS. Do LCoS TVs have a convergence board?
It's probable... D-ILA is a three chip design.
It's probable... D-ILA is a three chip design.
