Test: D-ILA Projectors JVC DLA-HD550 / HD950
Evolution instead of revolution: will they be able to re-defend the market leading position?
In the last two years, the JVC D-ILA HD350 & 750 projectors have become classics for home cinema enthusiasts within record time. The HD350 offered high-end quality at a medium price range and the 750 was the perfectionists' first choice with regard to colour and black level.
This winter, both models were replaced by their successors, the JVC DLA HD550 and HD950. This update allows the manufacturer to charge a slightly higher price (+ € 500). In our combination test, we will examine the quality of both machines and their technical innovations.
We would like to refer to our test criteria in advance. These are described in detail in our Know-how Special: "Projectors / Plasma TV's - Quality Features - The Cine4Home test criteria.
At a first glance there seem to be no differences. Normally in the home cinema industry, a chassis lasts at least lasts two generations before it is replaced. As the new chassis was not introduced until last year, it has consequentially been reused with the HD550 and 950.
The device certainly does not belong to the compact category. With a dimension of 365 x 166 x 478mm and weighing 11.2 kg it is, despite its slim design, anything but a lightweight. The black piano varnish emphasizes its high-end claim, however, making the projector anything but ordinary.
For our taste, only the non-centred lens affects the design negatively, as it disturbs the symmetry. For this purpose, it features a protective dust cover, which is electrically operated.
When not in use, the lens is protected by a dust cover. 
If you want to install the projector in your living room, but the black chassis might not match the room, you can also purchase the cheaper model HD550 in white.
The white version of the 550 might better suit normal living room conditions.
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In particular, the 120-Hz interframe which JVC is advertising as "Clear Motion Drive" is a technological innovation. Of course we wanted to get to the bottom of the technical implementations.
After removing the plastic cover, you first find a second inner metal cover. At this point it becomes obvious that the engineers paid close attention to good shielding.
After removing the shielding plate a modular structure is revealed. Again, every component is encapsulated in solid metal.
Even all cables are rigorously covered by metal fabric. We can even say that we have never encountered such a precise assembly within this price range. Further dismounting shows the power supply on the left.
Below the power supply we finally find the signal processing. All connections as well as basic components of signal processing can be found on a single board. This includes the well-known HQV Reon chip from Silicon Optix, which is known for its good performance in scaling and de-interlacing.
Mainboard of both JVC Projectors
The board of both models is largely identical. The 950 version, however, additionally provides an analogue VGA input (see figure above). The HD550 gives PC image signals, but only through the digital HDMI inputs.
At this point we were surprised as no trace of the interframe could be found!
A great advantage of D-ILA projectors is their dust security. As the panels work reflectively, air circulation in the optical path is largely avoided. In addition the JVC projectors provide an air ventilation system.
The external air is absorbed through an unobtrusive air box front left of the projector. Supported by a large silent ventilator, the air first cools down the adapter and is then u-shaped channelled through the lamp module. Finally, a second ventilator expels the heated air to the right out of the device. The entire air duct is carefully sealed by foam, so that no external air is absorbed and light and sound also remain inside.
The fans are installed decoupled and therefore do not transfer any vibrations to the chassis.
The light engine's cooling air, in contrast to the bottom of the chassis, is absorbed by its own fan and channelled through a curved channel to the corresponding complex. A coarse filter keeps out harmful dirt:
The mode of operation of the second cooling system becomes clear by taking out the light engine, which was as a good example of a module.
The air is divided and all three LCOS are individually supplied with the necessary air. The interactions lined with foam are to be positively emphasized.
The paddle wheel channels the air directly to the light engine.
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As mentioned earlier: As D-ILA is a reflective system - that is the single LCDs are not screened but reflect the light like a mirror - one cooling system is sufficient. This significantly increases the dust protection as no cooling air enters into the light path. In fact D-ILA projectors are the most secure from dust on the market and seldom if ever are there complaints because of dust particles on the screen. This becomes clear if you remove the air shaft. Behind it you will find the cooling element of each LCOS panel.
Each of the three LCOS panels is individually supplied with cooling air
After the cooling air has completed its task, it is channelled into the main air outlet and, along with the heated air of the lamp, escapes to the side. This dual ventilation system operates quietly and does not disturb the film. Only in high lamp mode, cinema enthusiasts who are sensitive to noise will be able to notice them in quiet scenes.
A matter of particular interest is the further analysis of image generation of the projector. On the left side of the light engine another shielding plate is arranged and behind it there are three control processors for the LCOS panels.
The control processors of the D-ILA panels are cooled passively
Compared to the predecessor, the control processors have been replaced by more powerful/ efficient versions. This is because of the 120 Hz interframe: These new processors are now able to process “faster” input frequencies and accordingly activate the D-ILA panels. In order to detect the board, which constitutes the core of the interframe, we have to turn it upside down.
The large processor on the left is the object of desire; it calculates all the intermediate images in order to increase motion sharpness and makes the course of action appear more fluid.
JVC did not purchase this technique, as almost all other projector manufacturers did, but has installed its own "Clear Motion Drive” technology. In the course of this image test we will analyse how competitive this projector currently is.
By removing this control board you will see the internal optical path, which is definitely the actual core where the image is generated.
By opening this last cover, you will obtain an impressive insight into the vertically arranged optical path. In order to depict the splitting of the white lamp light into the basic colours, we have illuminated it.
With a crossed arrangement of two dichroic mirrors, the blue spectral component is first separated and directed to the respective panel. The remaining yellow light is divided into green and blue and is “processed” in the lower part. After the pixel-based intensity modulation a prism combines the three monochrome frames.
The front view reveals the glass prism and beneath it you can see the back of the D-ILA panels.
The colour image added together leaves the projector through a common lens which comes from Fujinon. This lens is also of excellent workmanship, as its case is completely made out of metal and not of plastic, as is common practice in the case of home cinema projectors.
Projection iris of the HD350 / 750
The necessary light is provided by a 200W UHP lamp which can be adjusted to two levels of brightness. It is arranged at the end of the chassis and can be changed through a flap at the back. One should therefore make sure that the projector is not installed too close to the back wall so that you can have enough space to unplug the module. Otherwise you will have to take it off the ceiling mount.
Lamp module
The life span of the lamp in the "normal" mode is about 3000 hours. This corresponds to about 2,000 feature films, so even if you watch a film every day you can use it for more than six years. Back to top
Inputs have not changed in comparison to the predecessors. With two HDMI 1.3 inputs, the HD550 and 950 meet the requirements of up to date technology. The HD950 additionally provides us with an analogue PC input and a trigger output for automatic screen control.
The installation board in the HD950
The sideways arrangement of the adapter board is considered unpractical in the case of many installations. Especially in the living room cables which cannot be elegantly hidden next to the device are disturbing. Tangled cables on the ceiling seem to be inevitable.
All signal types which may occur in modern home cinemas are supported and therefore the projector is prepared for all kinds of eventualities.
525i (480i), 525p (480p), 625i (576i), 625p (576p), 750 (720) / 50p, 750 (720) / 60p, 1.125 (1.080) / 24p, 1125 (1080) / 50i, 1125 ( 1080) / 50p, 1125 (1080) / 60i, 1125 (1080) / 60p
The Clear Motion Drive can be connected to all signal types. Furthermore, the HQV Reon chip was kept as it brings good results in scaling and de-interlacing.
The unchanged chassis provides excellent flexibility and convenience, similar to its predecessors: featured with a fully motorised zoom, focus and lens shift, the projector can be adjusted quickly and easily to screen size. The new look consists of 17 elements completely made of glass and allows for a two times optical zoom, which guarantees a high degree of flexibility and makes appropriate screen sizes possible in all rooms.
Distance Table DLA-HD 550 / 950
The lens shift further facilitates it by providing a 80% vertical (up / down) and 34% horizontal flexibility, so that the projector can be installed beyond its optical axes and offsets the screen.
The excellent processing again deserves particular notice: the entire drive mechanics of the lens shift is made of high-quality metal bevels that promise a long life span even with frequent use.
The whole mechanism is made of metal
1.4 Conclusion
Although this year the internal structure of the DLA projectors has hardly changed, they are still standing in the fore front when it comes to image quality. Even compared to other upscale models there are few models that are so forcefully trimmed to perfection. This is proved by the choice of high-quality materials. The only point of criticism might be the ports positioned at the side and noise in high lamp mode.
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2. Service and options offered
As in the last generation, the control concept has been completely revised the 550/950 manage with only a little fine tuning of some options.
2.1 Image Settings - Menu
As can be seen in the screenshot above, the layout is down-to-earth and thus very clear to control. All functions are defined in a technically precise way and thus confusion is avoided. The "optical brightness” function is used to control the iris positioned in the lens. Here the differences between the two models become apparent: in the case of the HD950 this iris can be more precisely adjusted as it has 16 levels of adjustment while the HD550 provides us with only three levels.
Thus it is possible to find the optimal combination of contrast, black level and brightness for each screen size and room condition. For more information on this topic please see the image section of this test.
In the first section, all relevant parameters concerning contrast, gamma and colour temperature can be adjusted. The corresponding RGB screen has been usefully revised.
Revised RGB menu
In addition to particular presets, three user banks provide you with the opportunity to calibrate the colour temperature on your own. Whereas the predecessors HD350/750 did require a complete calibration based on the native (far too cold) colour temperature of the projector, the 550/950 allow you to choose the adequate "correction value" (generally 6500K) and based on this preset to make precise adjustments. This saves time and allows for perfect results. It seems as if the engineers in the former test had taken our criticism to heart.
The gamma equalizer has not been changed. However, this time finally the translation errors have been eliminated as one expects within this price range.
The concept has already proved itself in the last two years and facilitates a perfect adjustment of the gamma and colour temperature. For more information on this topic, please see the image test. Colour management which allows you to adjust all primary and secondary colours according to video standards is exclusively reserved for the HD950.
As this is just software, one must assume an intentional product differentiation by the manufacturer in order to justify the price differences.
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2.2 "Input Signal" – Menu
Except for a reorganization of the functions the signal menu has not changed, as the same options are offered/ available.
In this section the anamorphic stretch mode (vertical) is worth being mentioned. It allows to vertically stretch the image providing for the use of anamorphic optics for 21:9 Cinemascope films. Furthermore, the HDMI function is important: here the dynamics of space /dynamic space as well as the colour matrix can be selected.
2.3 "Installation" - Menu
The third main category contains all installation features. You can adjust focus and zoom, balance the trapeze (if necessary) and readjust the convergence of the projector.
The "type screen" function is new and enables you to adjust the colour temperature to projection screens which might be coloured. This is one of those typical "installation facilitation functions” which in practice do not provide any benefit as white screens are usually installed in home cinemas.
The previous convergence correction has been kept. You can separate and shift primary colours from each other horizontally and vertically, per pixel. This system has proved successful and the end result has few coloured fringes.
The convergence menu
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2.4 "Display Settings" menu
The fourth category “Display Settings” contains very few indispensable functions. In this category you can only adapt layout and language of all menus to suit your personal preferences.
2.5 "Functions" menu
In the last setting category “Functions” you will find options for lamp brightness, fan strength and an integrated test pattern generator. If you tend to feel sleepy, the sleep timer can be very useful as it automatically switches the projector off after a certain time.
2.6 "Information" screen
The last category left is the “Info screen”. It does not allow any presetting, though you can read which signal type is being charged. In addition to resolution and frequency, even the output bit depth is indicated.
As the previous generation shows, the menu concept had been optimized so well regarding clearness and functions that hardly any changes were necessary this year. The very few shortcomings (e.g. colour temperature) had been eliminated so that it is one of the best user interfaces, both with regard to operation and the functions provided. The only point of critique is the missing colour management in the smaller HD550. Back to top
2.7 Remote Control
Again a new remote control is being used, although the previous version was also structured very well. But also the new one can be denominated successful with regard to design. It provides a clear button structure and lies comfortably in the hand.
With regard to projector control one quickly learns to appreciate its excellent coverage and transmission security, as the previous model had some shortcomings here. Hence engineers did respond to criticism and did improve the system.
Instead of by remote control the projector can also be directly controlled on the chassis; for this purpose all buttons are on the top.
2.8 Conclusion
Due to the largely optimized starting base, these chapters have brought few innovations. In this respect, a certain fine tuning of the screen options, a more reliable remote control, new driver chips for the D-ILA panels and a new specific inter screen processor can be mentioned. The rest is not new, but remains on the reference level, especially as far as processing is concerned.
3. Image test
The recent innovations in technology and operations do not suggest completely new image results. In particular, the fastest frame rate should be improved by the new panel control featured with an interframe, otherwise many aspects of this image test will coincide with the HD350/750. But there is also a little surprise in terms of contrast...
Note:
At this point we would like to mention that these Cine4Home test results are based on the examinations of several serial devices, and not on a single “review sample” as being the case with most other publications. The results are realistic averages of all serial devices we have tested.
Also this year the D-ILA technology with a fill factor of over 90% is at the forefront.
Pixel structure shot at close range
Combined with a Full HD resolution, even from shorter viewing distances no pixel structure is visible.
This promotes a uniform sharp, natural-looking detail representation close to the original film.
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Any experienced home cinema enthusiastic sets a high value on an accurate colour reproduction. This is very important so that the colours appear on the home screen as intended by the directors. In order to guarantee accurate colour reproduction, the primary colours of the projector and their mixtures are to be precisely adjusted to video standard.
Here we can observe the first fundamental difference between the HD550 and his elder brother. Both have a native colour space, which compared to video standard turns out too large.
Native colour space of the DLA-HD550 / 950
At a first glance such a colour space brings about a very pleasant, coloor-shining image, but facial and natural colours suffer from oversaturation; they are too colourful. The various main presets provide different colour spaces, for example in the case of “Kino 1” the primary colour green has been reduced strongly with regard to saturation.
Colour space "Movie1"
But perfect adjustment is out of the question. Only the THX setting provides excellent perfection, and all primary colours are close to their reference values.
THX mode colour space (HD950)
The THX mode is exemplary, but unfortunately the user cannot influence the image setting. Furthermore, it is reserved for owners of the HD950, the HD550 does not provide a similar mode.
Luxury continues with the HD950: it provides a complete colour management which enables the user or retailer to perfectly adjust colour space to video standard with regard to colour and brightness.
The colour management of the HD950 in use
Although the colour management had been introduced in the HD750, there were some problems with unpredictable interactions. Several updates later did it work as it was supposed to. You do not encounter these problems with the HD950: it is easy to operate, easy to understand and leads to an absolutely perfect result quickly.
Adaptation of the HD950 colour space to HD standard by CMS
Shade of colour, saturation and brightness can be individually influenced for each colour. There is still a certain interaction between saturation and brightness, but being an expert you will quickly understand it and have it under control.
The HD350 does not offer better colour management, nor the THX mode. In this case you will have to get used to these strong colours. It is recommended to reduce the general colour until reaching the colour mixture of video standard. This works quite well, as by the colour slider not saturation but colour brightness is influenced. The risk of having a too pale image is reduced. Nevertheless, perfection is by no means possible. Considering the high price range compared to its predecessor this is disappointing.
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3.3 Colour Temperature (Know-how Link here)
With regard to colour temperature, that constitutes the second aspect of colour reproduction, both models, the 550 and 950, behave almost identically. Ex factory they provide a good approximation to the D65 standard. You just have to select the appropriate menu, the preset “6500K”. All specified colour temperatures are also approximately reached on screen, so that this system is considered good.
Colour temperature preset "6500"
Colour temperature is subject to a certain series of scattering. The above measurement diagram is thus typical for allowances, representative of projectors we have tested. Of course, home cinema enthusiasts with highly perfectionist demands are expecting an even higher accuracy that requires further calibration. While this in case of the HD 350 and HD 750 had to be started from the native base, it is easier with the HD550/950.
Here you can use the already good 6500K preset as a basis for further calibration. Following a few simple steps you can adjust colour temperature to the reference value of the mixture without considering brightness.
The colour temperature can be precisely adjusted.
If necessary, the above result can be even further optimized according to personal perfection and precision of measuring instruments.
With regard to colour temperature, engineers have improved an already good calibration system. Consequently both models provide an effective perfection.
In the case of the HD950 this very good colour temperature combines with an also excellent colour space, so that the ideal colour precision can be reached. In the case of the smaller HD550 you have to get used to a colour display that is marked by a tendency to be too colourful.
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3.4 Black level, contrast, Brightness (Know-how Link here)
Since the introduction of the HD1, JVC D-ILA models take an exceptional position with regard to contrast and image depth. In terms of native contrast no other technology comes close to the 30,000:1 of an HD550 or even 50,000:1 of an HD950. Focus is on "native" as D-ILA projectors generally achieve the adaptive contrast without visors. It pays well if black and very bright elements (e.g. white stars) appear simultaneously in an image. Thus, through the high native contrast a unique image depth is achieved that would otherwise not be possible using the adaptive aperture system. In such scenes, JVC D-ILA projectors are unbeatable, and at present no other competing technology can keep up with this level.
For good spatial adaptation of the contrast ratio additionally, both models have had an aperture installed in the lens although it is not automatically adaptive. Instead you can regulate its opening angle by remote control. The HD950 provides you with 16 levels while the HD550 has three adjustment levels ranging from open to almost closed. Through this iris it is possible to adjust the image brightness and contrast, adjusting to ones personal wants as well as the room conditions.
Due to this advantage the engineers did not consider it necessary to increase these values at least as far as technical data is concerned. In practice, however, we were surprised by the HD550.
Results
DLA-HD550 Lamp moduss
| Zoom
| Iris
| Brightness
(Lumen) | Contrast
| High / D 65
| Max
| 3 (Auf)
| 840
| 21500:1
| | High / D 65 | Min
| 3 (Auf) | 605
| 24400:1
| Low / D 65
| Max | 3 (Auf) | 550
| 20900:1
| | Low / D 65 | Min | 3 (Auf) | 380
| 24400:1
| | High / D 65 | Max | 2
| 700
| 27000:1
| | High / D 65 | Min | 2
| 470
| 29500:1
| | Low / D 65 | Max | 2
| 440
| 25300:1
| | Low / D 65 | Min | 2
| 285
| 29200:1
| | High / D 65 | Max | 1 (Zu)
| 490
| 32100:1
| | High / D 65 | Min | 1 (Zu) | 310
| 32700:1
| | Low / D 65 | Max | 1 (Zu) | 320
| 30500:1
| | Low / D 65 | Min | 1 (Zu) | 195
| 32100:1
|
|
|
|
|
| High / native
| Max | 3 (Auf)
| 910
| 23300:1
| High / native
| Min
| 1 (Zu) | 330
| 35200:1
|
In comparison to the previous model HD350, our tested models indeed did show an improvement. Although the native maximum contrast of the HD550 is on the same level of 30,000:1 as correctly indicated in the technical data, the projector loses considerably less light and contrast through calibration to video standards. Thus it is possible to recover almost all the contrast potential after calibration. This provides a better contrast and thus benefits image depth. Probably this increase has been accomplished by an improved optical colour filtering in the optical path.
If you want to have as much light as possible on the screen, you can use the full capacity of the zoom and open the iris aperture. Approximately 800 lumens can be achieved with perfect colours. This causes a brilliant shining image that reproduces daylight scenes appealingly. About a 20,000:1 contrast can be kept in this configuration, this is still roughly three times more than the current competition offers.
If, however, focus is put on a particularly high contrast it is advisable to partially close the aperture. In doing so, depending on the zoom you can reach a contrast of up to 30,000:1 and sufficient brightness for screens up to 3m. Within this combination the black colour is so dark that you have to look closely in order to discover remaining light on the screen. Also the brightened corners of the previous models have been largely eliminated. The total screen is uniformly dark.
Things look even better in the case of the HD950. The HD950 accomplishes over 40,000:1 in contrast with real colours and combines them with still appealing brightness. Its black level is even darker and also meets the highest demands.
Readings
DLA-HD950
Lamp modus
| Zoom
| Iris
| Brightness
(Lumen)
| Contrast
| High / D65
| Max
| 0 (Auf)
| 710
| 25239:1
| | High / D65 | Min
| 0 (Auf) | 570
| 35492:1
| Low / D65
| Max | 0 (Auf) | 507
| 24144:1
| | High / D65 | Max | -6
| 630
| 30285:1
| | High / D65 | Min | -6
| 454
| 40947:1
| | Low / D65 | Max | -6
| 437
| 28367:1
| | High / D65 | Max | -15 (Zu)
| 416
| 36671:1
| | High / D65 | Min | -15 (Zu) | 261
| 48003:1
|
|
|
|
|
| | High / D65 | Min | -15 (Zu) | 287
| 51439:1
|
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As the light path in the previous HD750 was had a practically optimally colour filter; there are no huge differences to the HD950 with regard to the indicated values. On average they are almost identical.
For both models the inter-image contrast of cinematic images with a high black level and bright elements is excellent. The image looks almost three-dimensional and impresses with a very high light output combined with an excellent black level. The honest concept of native contrast pays well, currently there is no other technology, which accomplishes a similar image depth. Here one must note, however, that the full potential can be exhausted primarily within home cinema spaces with limited stray light. Even a white ceiling affects the high contrast. The excellent black level pays off well for any room as movie scenes without high contrasts do not produce any stray light and therefore are not light. For those who attach great importance to black levels and high contrast, the D-ILA projectors are first choice. For those home cinema experts who have black rooms, the ANSI contrast is about 350:1.
The gamma of both models behaves almost equally well (also in comparison to the predecessors). This is why there aren't any new test results to record.
In order to adequately use the high contrast, an accurate distribution of brightness is indispensable. For this purpose, JVC offers a concept consisting of factory presets and further correction options. The preset „normal" provides the individual a higher level for each higher image mode. Among the devices we have tested unfortunately a certain scattering did occur. This is why we cannot make a general recommendation.
You can achieve good results by selecting a “2.3” gamma in the gamma menu (see below). In general the real gamma distribution is between 2.3 (video standard) and 2.3.
Uniform gamma between 2.2 and 2.3
As is the case with the previous models the user is provided with an elaborate gamma menu which by far ranks among the most effective in the market. The increase in brightness is represented in the corresponding menu and can be individually changed by the user for each primary colour!
This makes it possible to adjust the gamma where it is necessary (e.g. colouration in dark areas). In addition, you can choose the basic increase (usually 2.2 to 2.5) by which the corrections are to be made.
Perfect gamma ex factory can be further improved.
As a result, the new D-ILA projectors do not only benefit from their unbeatable high contrast but can also convert it into a consistent brightness distribution, that comes very close to the original movie and in some scenes even beats them as far as image depth is concerned. The good maximum brightness and the excellent black level make sure that the projectors do their jobs correctly in difficult scenes. Both in subtle night scenes as well as in blinding white light scenes the image is convincing. Furthermore, it can be adjusted very well before watching a film. Even with lots of black and light elements at the same time (e.g. science fiction) the new projectors are quite convincing, more than hardly any other device on the market. Generally, we recommend a slight correction of dark areas by using the gamma manager because most of the devices we have tested did show little failings in darker shades.
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As the optics and the prisms of the light path have not been technically changed the allowances ex factory have remained the same. Most of the test examples showed a slight misalignment of the primary colour red:
Minimal red fringing
These tolerances have stood the test as they are not visible. Should the convergence ex factory be worse at least it can be corrected pixel by pixel in the image menu. Each primary colour can be moved vertically and horizontally.
The projector shows good results with regard to sharpness. No test device showed any disturbing loss of sharpness, so that even pc desktop projections and their small symbols were displayed convincingly sharp.
Fortunately in the digital image age cut image edges are usually not necessary. Therefore a modern projector is required to show the complete image content without overscanning. The DLA-HD 550/950 exemplarily meet these demands.
Full Display with 1080.720 and 576 resolution
However, should disturbing stripes appear at the edges you can reduce the displayed detail. Nevertheless the HD550/950 do not provide a multi-stage adjustment of the “digital zoom”, as can be found with many other home cinema models. Back to top
The HQV Reon chipset shows that JVC did follow the general trend and is on the road to success as shown by the signal processors Silicon Optix. In this regard, the new version shows no significant improvements.
Video Footage
Video material, such as television shows, sports broadcasts or private video recordings are recorded with 50 different pictures per second. Although each semi-image offers only half the resolution, it represents an individual snapshot. According to the so-called “motion adaptive”, fixed images of two succeeding semi-images are combined by the HQV chip, while moving elements of the internal scaling electronics are “interpolated” on a higher level. Video images (e.g. of a satellite receiver) are transformed with a very good sharpness without movement artifacts to progressive representation.
Footage
In the case of footage, semi-images are obtained and transmitted from each cinematic image which in the next step have to be adequately framed by the De-Interlacer. With our PAL standard the movie is being accelerated from 24 to 25 images/second and the 25 full images are transformed into 50 semi-images. Now it is the task of the HQV to re-frame them. The HQV signal processing shows such a PAL film mode that further demonstrates an impressive stability. It is reliable, and can successfully display the usual test sequences of "Training Day," "Space Cowboys," "Star Wars", "Men in Black 2", without any weaknesses.
The results show that the new JVC projectors are well prepared for everyday usage. Ranging from the conventional 576i-PAL Signal to HD they provide a good transformation to native progressive image display both for sports and shows as well as for feature films and so guaranteeing a high detail effect.
The HQV scaling further supports good sharpness using high quality signal processing. The first step is the sharp demarcation of high contrasts, without provoking double outlines. This allows for a natural and yet at the same time detailed picture look.
PAL material is further accurately adjusted to the native resolution of the projector. As a result the projector also in the case of conventional SD playback generates a sharp and not a seemingly digital detail imaging.
Good horizontal and vertical scaling
Even in the case of full, pixel-perfect playback, technology shows a good switching time. This is reflected in clean deferred details, up to the smallest pixel size.
The signal processing of the new D-ILAs is considered outstanding
It is always able to make effective use of the sharpness potential of the high native resolution, be it in perfect HD quality playback or by high-quality scaling in SD playback. The sharpness theme brings us to the next point and the actual technical innovations in the HD550/950 models.
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3.11 Interframe / "Clear Motion Drive”
Last year, most high-class projectors had been integrated with sharpness supporting interframes.
Depending on the input signal, the LCD panels are activated by up to 120hz and a special processor adds new images to the full screen, allowing motion sequences to not only appear sharper but also more fluid (e.g. film footage).
Then JVC did not follow this trend, but the interframe of the new generation of devices constitutes the main difference in comparison to their predecessors. JVC calls it “Clear Motion Drive”, but how clear is the motion portrayal in practice?
At first we enter Full-HD video as it is the case with television, for example in sports coverage. Even without interframe, motion display is fluid due to the input signal frequency of 50 or 60 Hz. Motion sharpness considerably increases when “Clear Motion Drive” is switched on. Due to the short response time being less than 10ms, D-ILA projectors take even greater advantage of the interframe than conventional 3LCD projectors. They are able to precisely distinguish between individual images. Calculation operates reliably and without image interferences, occasional artefacts may occur.
All in all, the interframe constitutes an appreciated upgrading that is especially beneficial in sports broadcasts.
Unfortunately the HD550/950 do not achieve any good results with feature film footage in 24 Hz.
In order to convert it into the required 100 Hz, the processor has to at least interpolate two complete intermediate images per second. The JVC seems unable to cope with this task. Even in medium speed movements or larger pan shots several artefacts such as line flickers or double outlines affect the image considerably. The disadvantages prevail and the goal of improving sharpness is not present.
Considering the fact that other manufacturers this year have brought interframe technology to perfection, the JVC models are disappointing as their level of technology is similar to the previous year. This is very unfortunate, as particularly D-ILA projectors can significantly increase their sharpness with interframes. There is however some consolation: With the faster activation of the LCOS panels even when interframe is switched off, sharpness seems to be slightly higher because of the shorter switching time even in 24p native display. Thus both new models are only a little bit sharper than their predecessors but at least they are better.
Apparently the improved standard with regard to colour homogeneity ex factory has been maintained. None of the serial devices we tested showed coloured clouds, but did show a uniform colour temperature up to the edges even in difficult, semi-light and image covering grey areas. All the tolerances remained on an unnoticeable level.
4. Conclusion / Recommendation
Since their market launch, JVC D-ILA home cinema projectors have been at an exceptional position within the high-end sector. Within record time many home cinema enthusiasts were attracted by these projectors due to the D-ILA specific analogue–like image characteristics and high native contrast.
Since the introduction of the current chassis by the HD350/750 many initial defects have been cleared, so that these models do not reveal any faults. It is thus not surprising that the current predecessor models HD 550/950 which are based on the same chassis do not constitute an innovation. Rather has one confined oneself in improving details and in introducing the interframe that is becoming more and more popular.
The success of the latter was limited as can be seen in the image test above, sport enthusiasts get their moneys worth. Nevertheless: in consideration of the higher market price and the fact that this aspect constitutes the main difference, the result does not meet the expectations and is below what is technically feasible.
What is much more striking with regard to image quality is the improvement of the calibrated contrast of the HD550 that is not even advertised in the technical data. A further advantage that results from the small model is therefore that it provides a slightly higher level of maximum brightness and an improved black level. For sure, these are no worlds apart but with regard to D-ILA technology we are already on a high level.
Small improvements within the image menus allow for a faster calibration to video standard. Experienced calibrators are thus able to rapidly achieve an excellent display with regard to contrast and colours. But better with the 950 than the 550.
Only the large model ex factory provides an excellently adjusted colour space in the THX mode. Alternatively, you can also adjust it manually using colour management. Until it is just perfect! As a result the excellent and perfect D950 combines plasticity and an image display that is perfect in almost every respect. The HD950 thus comes very close to the perfect cinematic image.
With the HD550 you do not come this close to the absolute reference level. In order to compare these two models we refused its colour management and the THX mode (as we did before with the 350) so that it tends toward a more colourful image display. However, it is within the bounds of a good image display. Therefore one can say that also its image display is one of the best in the market – even more at this price.
Review: Picture
HD950
Picture Overall Rating: 1.5 (Very Good -)
Black Level & Contrast
1.0 (Very Good)
Sharpness & interpolation
1.5 (Good +)
Colour Space / Temperature
1.1 / 1.2 (Very Good -)
Signal Processing
1.8 (Good +)
Interframe
3 (Satisfactory)
Other aspects
1.2 (Very Good)
(All evaluations refer to the respective projection and the current state of technology. A direct comparison of the systems or generations is therefore only partially possible!)
Review: Picture
HD550
Evaluation picture overall: 1.7 (Good +)
Black Level & Contrast
1.1 (Very Good -)
Sharpness & interpolation
1.5 (Good +)
Colour Space / Temperature
2.1 / 1.2 (Very Good -)
Signal Processing
1.8 (Good +)
Interframe
3 (Satisfactory)
Other aspects
1.2 (Very Good)
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With regard to equipment, due to the excellent starting point there have not been many innovations. The new remote control is worth mentioning, which apart from an improved structure also guarantees a better range and signal transmission.
Furthermore, the chassis is very convincing with its excellent workmanship that is surprising even in the high-priced market. Every detail seems to be elaborate and its implementation high-quality. Therefore, the projector will provide perfect home cinema entertainment for many years to come. Combined with an appealing design and many installation possibilities it can make dreams come true.
Even without providing revolutionary changes, JVC did manage to defend its market leadership this year in terms of contrast, colours, workmanship and technology. Hardly any other projector can achieve such a high level of perfection in so many categories, as does the new JVC duo. This is especially true for the HD950, which offers even more options for image perfectionists.
This year, due to the yen exchange rate, the price is about €4999 (HD550) or €6999 (HD950). The slightly higher price might constitute a downside, but nevertheless you will rarely get such great value for your money. We would suggest to anybody who is intending to spend this amount on home cinema entertainment to visit a retailer and have a look at it! In 99% of all cases you will become weak and snap at the chance… and you won’t regret this purchase!
5. Assessment
+ Unique high native contrast
+ High quality workmanship
+ Excellent black level
+ No digital artefacts
+ Strong colours
+ High-quality signal
+ No pixel structure
+ Highly flexible installation
+ Excellent overall image quality
- Noisy in high lamp mode
- No Colour Management (HD350)
- 120Hz interframe with severe errors in 24p footage
- Scaling does not tap the full potential of HQV
- Only single-stage overscan
- Few analogue inputs, no VGA (HD550)
HD950
Overall Rating: 1.38 (Very Good -)
| | Facilities | 1.4 (Very Good -) | | Operation | 1.5 (Good +) | | Technology | 1.2 (Very Good) | | Picture | 1.5 (Very Good -) | | Price Performance | 1.3 (Very Good -) |
(All evaluations refer to the respective projection type and the current state of technology. A direct cross-system comparison is thus limited).
HD550
Overall Rating: 1.4 (Very Good -)
| | Facilities | 1.4 (Very Good -) | | Operation | 1.5 (Good +) | | Technology | 1.2 (Very Good) | | Picture | 1.7 (Very Good -) | | Price Performance | 1.2 (Very Good -) |
17 December 2009
Karsten Becker, Ekkehart Schmitt Back to top
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