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  1. I am staying with my Acoustic Vision AT screen. It is 1.16 gain.
  2. I have used those patterns on every UHD display I have calibrated and never seen that happen. And I have used the Panny 300, 400 and 900 as source. The 300 doesn't doesn't display over 1000nits, so it just white. The 400 and 900 can do out 4000 nits.
  3. Yes definitely screen size dependent. Nits is based on candella squared or the number of candles it takes to produce x amount of light over a meter by a meter of screen surface. The bigger the screen, the dimmer it gets. Some day, I will get a JVC.
  4. You are correct, at this point in time, there is no display that can produce 10,000nits. All displays should be able to show the flashing grey bars right out to 10000 if the contrast is not pushed too high. The white in the pattern is limited to the capabilities of the display. Being a full white, most modern displays typically reproduce it at about 300nits for flat panels. The only projector I have seen that did this pattern over 100nits (measured 126nits) was the BenQ W1700.
  5. I have never had a system crap out using that pattern (#3 of white clipping). If there is an issue, the pattern just displays as crushed whites.
  6. I'll try and keep this simple. RGB balance is the grey scale tracking from black to white. Ideally, you seek a point (shown on the CIE diagram) of D6500K. To get there, you need to find the precise x,y point where x = 0.313 and y = 0.329. The grey scale should be flat from 0 -100 generally expressed as percentages or IRE (Institute of Radio Engineers). Grey Scale is also expressed as numbers from RGB0 - RGB255. The differences between SDR and HDR are as follows - SDR has a range from video black of PC RGB16 to video white or RGB 235 (even though the range goes up to 255) to remain backwards compatible with CRT. The peak white for SDR is said to be no brighter than 100 nits or 29.29FL. HDR still covers the same range but does it much finer steps (0 to 1024 in a 10bit system). This gives finer gradients and hopefully banding is not visible. The main difference is that the whites continue well past 100nits out to 10,000nits. The reality is that an OLED TV might push out past 500nits and an LCD TV might be capable of 1000 nits. A projector is doing extremely well if it can push out 100nits. The lumanance chart is showing 100nits. For colour the CALMAN shows both a 2D xy and the Y is shown in the chart below that. The x,y points are what we typically use to compare the size and mapping of of the colour gamut. The Y is the lumanance or how bright each colour is. Your chart shows this as a flat line meaning all Y values are at 100%. Where HD video uses rec709 colour, UHD can use a colour gamut far larger like P3 (used by D-Cinema) and BT2020. Rec 709 is 75% of P3 and P3 is 75% of 2020. Using PQ gamma, each colour is supposed to be able to reach 10,000nits.
  7. I agree with the 6 to 7, especially on new projector tech like laser.
  8. The idea of constant image height is for all images to be projected at the same height, not to fill the Scope screen. Your JVC has two anamorphic modes and up-to 10 programable zoom modes. There is a 4% difference between true 16:9 and 1.85:1. For both ARs, you would use B mode, but you could also apply a small amount of zoom to rid the slivers. Same as 2.00 or 2.20. With mode A, it is based on 2.37. Most Scope movies are either 2.35 or 2.40. With 2.35, about 2% of the image is lost with the black bars. For 2.40, you again see slivers of black. Whilst you can't do anything about the 2.35 crop, you could create a small zoom for 2.40. You would need a 2.40 screen.
  9. I use these patterns all the time and have never seen a system crap out. If the contrast is too high, then you get white crush.
  10. Sounfirm as in Fox Studio, Sydney? I visited twice. The first time was during the the time they were THX certified, about 2002, and SW2 AOTC had just hit DVD. The 2nd time was well after SW 3 was done, so probably mid 2006. There was a massive difference between visits. I was blown away with how quiet the main mix stage was in 02, and really surprised how noisy it seemed in 06. In 02, they claimed it cost $30kUSD to hold that certification. At the time, we were about $0.54usd. What would have changed in that time remains to be answered. If the room was able to achieve the noise criteria of THX in 02, surely they would have been able to maintain that for the following years.
  11. One of the most important things I learned at the ISF course was that grey scale is a specific x,y point and not just 100% RGB. Grey in video is x:0.313, y0.329. Display type pending, 100 green may move the point higher (or lower) than y:0.329. If that happens to read higher (example y:0.332), then yes, your images will have a green hue to them.
  12. I have no issue with DIY. Do you have a colorimeter? Getting the grey scale to D6500K is not sometime you will not do by eye, especially for 10 point adjustments on a TV.
  13. When does SOLO come out? I got PREDATOR and like T2, it is the best version of the film to date. My original BD is as grainly as a bowl of rice, the Ultimate Hunter Edition was scrubbed clean to the point where Arnold looks like clay in the opening sequence. Not to mention the cropping back to 16:9 UGH! But this is nice. Enough grain to look like film, but clean like we expect from UHD and back to the TE AR of 1.85:1.
  14. The colours and the details are awesome, but the stand out for me is the lightning strikes in "Deserts" where you truly see the point of HDR. I should probably buy a 2nd copy and add it to my demo material.
  15. There are very small losses with an AT screen as even a weave passes light through the fabric. However, the overall gains in AV far out weigh these small losses, so don't let the idea put you off going at. I've had AT since 2006 and there no way I would go back to a solid screen with speakers above or below the screen.
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