Editor's Choice Award

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The JVC DLA-NZ8 ($15,999) is a new entry for 2022 that sits just above the ProjectorCentral reviewed JVC DLA-NZ7 ($10,999) and just under the flagship DLA-NZ9 ($25,999). The new NZ series serves as the successor to the company's previous and very successful NX line of projectors. The NX series, which included the DLA-NX5/RS1000, DLA-NX7/RS2000, and DLA-NX9/RS3000, were all lamp-based models and were always in the conversation when discussions regarding home theater projection took place within the enthusiasts' communities, and rightfully so.

The new NZ line looks to build upon the path laid before it by the NX series. It feels more like an evolution as opposed to a revolution, where JVC has refined what they already do well and also added a little more here and there. The biggest step forward, though, is the change to the light source. JVC has transitioned to using BLU-Escent laser diode light sources in all of the NZ series models, which includes the DLA-NZ7/RS2100, DLA-NZ8/RS3100, and DLA-NZ9/RS4100. (The RS pro-series models are the same as their counterpart NZ models so references to the NZ projectors from here apply to both models.)

This is a very welcome change, as the benefits of solid-state laser light engines are a huge plus to consumers. The key advantages are the long-life span and eliminating the need for bulb replacements; an extra benefit is fast power-on and power-off times. So, the time you once had to wait for the projector to turn on and get to full brightness is a thing of the past. Once the projector is on and the image is on screen, you're ready to go.

Features

The DLA-NZ8 uses JVC's D-ILA (Direct-Drive Image Light Amplification) 0.69-inch native 4K (4096x2160) chipset with one chip per each primary color (red, green, and blue). This has been further refined in the NZ series from its predecessor (NX series) by doubling the speed of JVC's e-shift pixel-shifting process from 120Hz to 240Hz, which allows for the DLA-NZ8 and DLA-NZ9 to resolve a full 8K addressable pixel resolution using what's now called 8K e-shiftX.

The D-ILA chips are paired with JVC's new High Contrast Optical Block found in the higher end NZ8 and NZ9 to reach the rated lumen specification for the NZ8 of 2,500 lumens, while the NZ9 has an impressive 3,000 lumen specification. As mentioned above, the light source behind all of this is JVC's third generation BLU-Escent laser diode, used here with a yellow phosphor wheel and other optics to create the red, green, and blue color channels. The light source is listed to have 20,000 hours of life before half brightness is reached. That effectively equates to watching a 2½ hour movie every day for 20 years.

Along with the longevity of the light source and lack of lamp replacements, these features ultimately provide consumers with high brightness and high native contrast. The NZ8 has a listed specification of 80,000:1 native contrast ratio and an infinite:1 dynamic contrast. As for the aforementioned fast power-on and -off: I timed the NZ8 at 32.5 seconds from turn on until the D-ILA splash screen appears, and 44.1 seconds until an image is on screen. Power-down time was 9.4 seconds from power-off and the screen going black to the fans stopping.

The NZ series also supports HDMI 2.1 at its full bandwidth of 48Gbps on both HDMI inputs. This is a very welcome addition and is sure to please enthusiasts and gamers alike. This makes the 8K e-shiftX much more meaningful, as it allows source devices such as a high-end PC with a GPU equipped with HDMI 2.1 to send 8K (8192x4320) natively to the projector. This also allows source devices such as the newer gaming consoles such as Xbox Series X and PlayStation 5 to send 4K/120Hz to the projector as well. Unfortunately, the HDMI 2.1 implementation on the NZ series does not currently support gamer features such as ALLM and VRR. However even without support of those features, having the ability to send 8K/60Hz and 4K/120Hz with already low latency combined with the projector's Low Latency Mode is a real treat in practice.

8K e-shiftX is new to the NZ series and only available on the NZ8 and NZ9. It utilizes four-phase pixel shifting of the native 4K image to get to the required 240Hz and produce an 8K image with over 35 million addressable pixels, which is more than enough to fully resolve an 8K image. The step-down version of 8K e-shift is the 120Hz version found on the NZ7 which was also used in the previous line, only on the former top-of-the-line NX9. It merely doubles the pixel count from native 4K rather than the quadrupling required to map a native 8K signal.

Another new feature found in the NZ line is support for the HDR10+ format. This format allows for dynamic metadata to provide information to the projector to accurately display content either scene by scene or frame by frame. This is assuming the movie being watched supports HDR10+, and that the source device will play it. Luckily, if consumers find themselves watching regular HDR10 content—which is most of what's out there today—the NZ series has that covered as well with its excellent Frame Adapt HDR dynamic tone mapping to help provide an optimal picture at all times.

Some other notable features carried forward from the NX line is the Cinema Filter, which is found on the NZ8 and NZ9 and is used to expand the color gamut coverage to 100% DCI-P3 at the cost of some light output. The Theater Optimizer, which utilizes information on your installation about your screen manufacturer, type, gain, and size to assist with making adjustments for tone mapping when using Frame Adapt HDR, also makes a return from the prior JVC series. 3D is supported when utilizing a 3D emitter. JVC's PK-EM2G 3D RF Emitter ($99) and compatible glasses are sold separately.

The NZ8 has a 65mm diameter, 17-element, 15-group all glass lens which is also found on the NZ7, while the NZ9 sports a 100mm 18-element, 16-group all glass lens carried over from the NX9. The lens supports vertical and horizontal motorized lens shift with ±80% vertical and ±34% horizontal lens shift. 2.0x motorized optical zoom is supported as well. This allows for a 60-inch to 200-inch projection display size in 16:9 aspect ratio, depending on throw distance and zoom. Pairing this with the multiple installation modes and 10 memory slots (which will save various zoom, focus, lens shift, pixel adjusts, and anamorphic modes), almost any installation should be viable within the projector's 1.40:1 to 2:20:1 throw ratio. A 200-inch image can be cast anywhere from 21 feet, 8 inches to 43 feet, 5 inches, while a 100-inch image would place the lens between 10 feet, 10 inches and 21 feet, 8 inches from the screen.

The NZ8 is a heavy projector so planning in advance is highly recommended. If needed, the NZ8 does support vertical keystone though, as always, it's recommended to avoid using such features to maintain integrity of image quality. To determine throw distance for your preferred screen size you can utilize the ProjectorCentral JVC DLA-NZ8 projection calculator.

On the rear of the unit all of the I/O will be found, which includes the two HDMI 2.1 inputs (48 Gbps, HDCP 2.3, no CEC support), RS232 connection, USB for service (firmware), 3.5mm mini-jack for DC 12v trigger support, an RJ45 port for LAN connection, and the 3D Synchro port to connect a compatible 3D emitter. Two large fan intake vents are also located on the back (the projector exhausts from the front), as well as on-board controls to navigate menus and power the projector on and off.

Lastly, the standard backlit remote that was introduced with the NX series makes a return as well. I personally would have liked to see some changes with the remote such as some sort of raised bumps that allow you to easily feel what you're potentially going to press. Also, it would be nice if the backlight stayed on a little longer. But, overall, it's familiar with no surprises.

Performance

Color Modes. The NZ8 has three dedicated picture modes and three slots for User picture modes for SDR, and five dedicated picture modes and three User picture modes for HDR. SDR modes include Film (only available on NZ8, NZ9 and their RS series counterparts), Cinema, Natural and User 1 to User 3. HDR picture modes are HDR10+, Frame Adapt HDR, HDR10, Pana_PQ (meant to be used with Panasonic UHD players that do their own tone-mapping), HLG, and User 4 to User 6. Each of the aforementioned picture modes can be assigned various preset and custom color temperatures and color profiles to be associated with desired mode. The User picture modes mirror Natural and HDR10, respectively. The ability to change the color temperatures and color profiles associated with picture modes and the ability to have multiple User picture modes allows for a fair amount of customization when crafting a picture mode to your liking. However, the majority of users will likely go with the Natural mode for SDR as well as the HDR10 and Frame Adapt picture modes for HDR, as these modes have traditionally been the most accurate out of the box and serve as most user's starting point.

The controls provided allow for white balance adjustment for grayscale with RGB 2-point controls for Gain and Offset. Color Management System (CMS) is also available to allow for Hue, Saturation, and Luminance adjustments for primary and secondary colors (RGBCMY) within target color space. Various Gamma options are available as well that are predefined values, or custom created gamma curves can be imported as well. Since most picture modes can have any Color Temperature setting associated with it, they can all get fairly bright, though the brightest out of the box was Natural and User for SDR and Frame Adapt HDR Frame by Frame for HDR. When the Color Temp was changed to High Bright, it added a strong green bias to the image that made it basically watchable, but this uncalibrated mode is there mainly to prove out the projector's ANSI lumen spec and not intended for critical viewing.

Initial impressions of the NZ8's out of the box (OOTB) performance were generally favorable. It did need calibration, but the projector is very usable OOTB if put in the correct mode and color temperature. I find it very unlikely that anyone who would own this projector would not be calibrating it either DIY or by hiring a professional, or at the very least trying user- or reviewer-posted settings such as the ones you will find later in this review. In an ideal world it would come out of the box perfect, though unfortunately this isn't the case and the NZ8 does need to be calibrated to get the most out of the unit.

After reviewing some content prior to starting measurements and calibration, I landed on where I expected to start and also the best options if someone were to not venture into calibration. The ideal picture modes for SDR would be Natural or User, with possibly changing color temp to 7500K as on my initial sample it measured closer to the industry standard of D65. Additionally, you'd likely want to change gamma to 2.3 or 2.4, set the Dynamic CTRL to Mode 1, and set Picture Tone between -1 and 1. For HDR I'd use Frame Adapt HDR mode in its Frame by Frame setting, or the default HDR10 mode.

Those who opt to calibrate the projector can achieve excellent results. Those results will vary depending on the methods used as well as equipment used. Since the NZ series has a laser light source, to achieve the utmost accuracy reference-level metering equipment is highly recommended. If reference equipment is not available other methods can be used, such as reading off the lens with a diffuser to assist in maintaining the high contrast of the unit, though even using that technique some adjustments may not be 100% accurate short of using a color meter with the required sensitivity for laser.

Prior to calibration the NZ8 did a pretty good job of resolving shadow detail overall while maintaining the excellent high contrast I've come to expect from JVC, after just making a few simple changes to Picture Tone and Dark Level, and selecting the Dynamic CTRL Mode 1. The Dynamic CTRL works like a dynamic iris as seen on the previous NX series, as it controls the brightness of the laser light source on dark scenes. I found Mode 2 to be much too aggressive in its action. Motion handling was excellent as well, as the NZ8 resolved some of the tougher test patterns that I could throw at it.

I calibrated the NZ8 with Calman Ultimate calibration software from Portrait Displays, a Colorimetry Research CR-250 Spectroradiometer, a Colorimetry Research CR-100 Colorimeter, and a Murideo 8K Seven Generator. Based on previous observations I measured Natural picture mode for SDR in the 6500K color temp with 2.2 gamma and used that as my starting point. The projector was placed 12 feet 3 inches away and utilized zoom to project a 100-inch, 16:9 image on a reference 1.3 gain, 135-inch 2.35:1 Stewart Filmscreen screen.

I found that on my initial test sample the color temperature did not track correctly, with the 7500K setting actually tracking closer to 6500K. Natural picture mode using the 6500K color temp setting was under-tracking D65 and had fairly large dE (DeltaE) errors. Grayscale pre-calibration measurements of Natural using 6500K color temp had dE errors all over 2 going as high as 6. (DeltaE is the metric used to determine the visible error. It has been determined that anything over a dE of 3 is visible, anything over 2.3 is a just noticeable difference for trained eyes and anything below 2.3 should ideally not be seen to the eye.) Color gamut color points for the Rec.709 color space for the NZ8 were actually not too bad, though, with some minor issues with Hue on the secondary colors, mainly Cyan and Magenta. Gamma tracked correctly per menu selection, which is quite different from my previous NX9, where a setting of 2.4 measured 2.2, 2.6 was 2.4 and so on. It's good to see that it tracks properly in the NZ series.

After learning of my OOTB grayscale measurements and feeling they were not typical, JVC provided a second sample that fared better in this regard. This second sample (as well as some others I've calibrated in the field) did track closer to their labeled settings. If you do encounter this unit-to-unit variation, you can opt to use the 7500K setting; starting with 6500K and making corrections within that color temp could result in very heavy-handed use of the Gain and Offest (bias) controls, which can ultimately impact the dynamic range and contrast of the projector. You can also correct this issue somewhat by running JVC's downloadable free autocal software (with a compatible light meter). After receiving the new sample and rerunning all prior measurements and viewing tests, the data and visuals confirmed that the it did correctly track color temperature.

Starting calibration, I utilized the provided 2-point gain and bias controls to target the production industry standard D65 neutral gray white point. Afterwards, a full CMS (color management system) calibration for the RGBCMY primaries and secondary colors was performed as well. During this time, I tested the impact of the Offset/Bias controls as Offset should be used minimally to avoid lifting the black floor and ultimately reducing contrast. I wanted to be as conservative as possible in my adjustments.

Post calibration for SDR resulted in Natural being calibrated to peak 13.0 fL/44.6 nits in my dark theater room. HDR10 (Cinema Filter engaged) post calibration measured at 28.9 fL/99.0 nits. With Cinema Filter engaged the color gamut measured 95.11% DCI-P3 and 137.6% Rec.709. With Cinema Filter off, the projector brightness measured a noticeable 27% higher, but gamut was reduced to 85.2 % DCI-P3 and 98.5% Rec.709.

Post calibration errors decreased considerably when ran against a very extensive Calman color checker that measured 150+ color swatches. Post-calibration dE for ColorChecker for SDR came in at 1.2 dE average with a max of 2.8 dE. Outside of the one measured point at 2.8 dE, 23 points were between 2.4. dE and 1.1 dE and all remaining points came in at under 1.0 dE. So, the results were excellent overall. HDR10 Picture mode allowed for the adjustment of the CMS and I dialed in the targeted color points as they were slightly off-axis pre calibration. Using the Gain and Offset controls for grayscale I was able to align the RGB balance without much issue. With most projectors the luminance measurements will always be a problem for HDR since projector's lack the brightness of televisions, and there was no exception here. Overall, the results looked great, however. The HDR10 calibration was done with the Cinema Filter engaged.

1080p/SDR Viewing. The devices I used for reviewing content post calibration were AppleTV, an Oppo UDP-203 Blu-ray player, and Kaleidescape Strato 12TB.

I started with watching Sin City on Blu-ray, the "That Yellow Bastard" story. The entire story was displayed very well and really played to the NZ8's and in general JVC's strengths, which is contrast and outstanding black levels. The scenes retained detail in the fabric of the clothing, great shadow detail, and clean whites without any color shift. In scenes where color was introduced, typically either red or yellow, these appeared saturated, accurate, and impactful. I did not experience any noticeable laser dimming while using Dynamic CTRL Mode 1. Black was black without any elevation in the scenes, such as when Hartigan was lying on the prison cell floor and the camera was above him. The blacks in between each cell bar were deep and had no fluctuation.

1080p/SDR/3D Viewing. Despicable Me was chosen for 3D viewing using an Oppo 203. I was pleased to see that during my time watching this movie I experienced little to no crosstalk. The depth was actually very good on various scenes, such as times when Gru is walking towards the camera or facing directly ahead and the viewer sees the length of his nose. On other scenes, such as where a small boy falls onto a pyramid and is launched into the sky towards the screen, the depth was very present. Color accuracy was maintained and the image was bright. This will vary depending on the glasses used as some are darker than others. However, the NZ8 is able to give a pleasing 3D experience with good depth and little crosstalk.

UHD/HDR Viewing. The NZ8 has a wealth of HDR modes that I went through including HDR10+, HDR10, and Frame Adapt HDR with the Frame by Frame (vs Scene by Scene) option. All modes functioned as expected and provide an exceptional HDR experience.

The first movie I watched was Godzilla: King of the Monsters on 4K Blu-ray from an Oppo 203. I selected this movie because of the HDR10+ support. The disc has a maximum peak brightness (MaxCLL) of 1,998 nits and an average light level (MaxFALL) of 414 nits. The NZ8 went right into HDR10+ picture mode as soon as the movie began and worked flawlessly. The chapter that has always been my go-to is where Ghidorah wakes and is fighting the military just before Godzilla arrives. While it is not a particularly bright chapter in overall APL (average picture level), it has bright highlights from the gunfire, lightning, and Godzilla's atomic breath. These displayed as well or better than I expected; I was actually very surprised at how bright some of these effects were. The gunfire flashes and the monsters' attacks really did light up my room. At no point did I feel I was missing any detail, especially in the darker areas of the chapter when the shot would cut between the monsters fighting to the inside of a helicopter. The atomic breath had the right hue and saturation of color while maintaining high brightness.

Guardians of the Galaxy Vol.2 was up next and viewed on a Kaleidescape Strato. I viewed various aspects of this movie several times in standard HDR10 and Frame Adapt HDR Frame by Frame. The scenes that stood out the most were actually from the very beginning of the movie starting with Baby Groot's battle dance, to where the Guardians escape the Sovereign Fleet with the help of Ego. Out of both HDR implementations, the Frame Adapt HDR Frame by Frame gave the most pleasing viewing experience. It was brighter overall compared to HDR10 picture mode and it helped resolve more shadow detail in challenging dark areas, such as where Drax is trying to catch Baby Groot dancing. More detail was resolved and maintained in the golden spheres that were rotating around the battlefield and in the fire explosions that would occasionally pop up. Each presentation was good, though Frame Adapt really was a winner here.

Gaming 4K/60, 4K/120, 8K/60. I next decided to do some light gaming on the PlayStation 5 with a fighting game. I chose Guilty Gear Strive as I always opt to test fighting games or something that requires command inputs based on frames. Guilty Gear Strive is a native 4K game that runs at a locked 60 frames-per-second. I was able to perform several of my bread-and-butter combos with little to no issue. This was even without utilizing the Low Latency Mode. Once I engaged Low Latency Mode, which takes lag down to somewhere between 46 ms and 27 ms depending on signal type, responsiveness increased immediately. I found performing combos was not really difficult with Low Latency Mode either On or Off, which is good. I did find I had a problem blocking attacks at the last second, which Low Latency Mode helped with. Needless to say, the NZ8 is a very viable gaming projector for casual and light-competitive gaming. One thing to note is that when using Low Latency Mode, Dynamic CTRL is not available.

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DOOM Eternal was the next game I played. I played this on PC equipped with an i9 processor and 3090 GPU. I configured this game to run at native 8K at 60Hz with HDR. The game felt responsive but not as responsive as I would have hoped. DOOM Eternal is one of those extremely fast-paced games where the lowest latency is needed at all times. After playing for around an hour or so I felt that the experience was good, mainly due to the sheer size of the image, though the performance wasn't what I wanted. I could see playing games that are 3rd person action adventure, fighting games, racing, etc., but games that are in the vein of DOOM just feel better on a monitor. This is very subjective, as others may have a better experience. It was still very much playable, though. I'm just more familiar with DOOM while playing on a monitor or OLED. Visually, however, DOOM never looked so sharp as it did run at 8K. It's very impressive, and worth a look and some play time even if it's only to experience once on the big screen.

The last game I played was Halo Infinite on PC using the same i9 and 3090 rig, running at native 4K at 120Hz with HDR. It played well—very well. Since Halo is a slower-paced shooter compared to DOOM Eternal it would actually fare better playing it at 8K/60, while DOOM would have been ideal at 4K/120Hz. Visually, it was immersive and felt just as good as it normally does playing on a monitor or OLED. I didn't feel like I was any slower to respond than when playing on other displays, which is good because it makes transitioning to the big screen much easier.

Overall, the NZ8 provided a solid gaming experience across the board, especially when Low Latency Mode is engaged.

Conclusion

The JVC DLA-NZ8 is what I would consider an evolution not a revolution, which is fine. It refines and builds on top of what JVC already proved it does so well, while providing new features and benefits to the consumer. Coming from the NX9, my previous reference projector, I was a little worried that I would feel the NZ8 was a step down or more of a lateral upgrade. I thought I would really miss the premium 100mm lens found in the NX9 and NZ9, and while I do to a point, I still think the NZ8 is an overall worthy upgrade from an NX9 considering all it has to offer.

For example, bringing HDMI 2.1 to the table in my theater setup is huge because nearly all of my devices support HDMI 2.1. Now that it is seen throughout the chain, features that were previously not available with the NX9 are suddenly available to me. So that is a key benefit for anyone who has multiple source devices connected that support HDMI 2.1.

I also wasn't expecting to notice too much of a difference in terms of brightness between the two projectors—however, I was wrong. The NZ8 is noticeably brighter. It also runs cooler and quieter, turns on and off extremely fast, and is suitable for gaming, all while providing a solid-state light source that will never require me to swap out an expensive lamp. There really isn't much to not like about the unit. I actually feel that, even at this middle price point, this is the go-to unit compared with the other NZ models in the line.

The only thing that I would personally like to see is a little less unit-to-unit variation. I have calibrated a few RS3100/NZ8 in the wild and they are expected to vary some, though if it were a little tighter it would be great. Granted, even my first sample wasn't too bad, though if you do get a sample like that where the LUT that is loaded on the unit for grayscale/gamma or gamut targets isn't the best, it could require heavy-handed use of the Gain and Offset controls to bring it in line. Luckily, this wasn't the case with the units I have come across in the field, and my second test sample was better than the first, though not as accurate out of the box as the units I've seen in the wild. Either way, I'm glad that JVC provides their calibration software because when this does occur that is really the best way to fix it. That software doesn't support the highest quality, narrow bandwidth light meters that are most accurate for calibrating a laser light source...though they are viable solutions. Hopefully, JVC will update their software soon to work with the most suitable instruments for these new laser projectors.

In any event, the JVC DLA-NZ8 is an amazing projector and performed beautifully on everything I watched. How it will fair against Sony's new line is yet to be seen, but as it stands right now JVC and the NZ series will continue to be a part of the conversation when it comes to the highest level of home theater projection, and rightfully so. As such, it rightfully deserves ProjectorCentral's highest honor Editor's Choice Award.

Measurements

Brightness. The JVC DLA-NZ8 is rated for 2,500 ANSI lumens. The brightest picture mode in SDR was Natural or User with High Bright Color Temp, and for HDR it was Frame Adapt HDR Frame by Frame. In SDR, this picture mode measured 2,501 ANSI lumens, right on target. This carried over to HDR Frame Adapt HDR as well when High Bright was engaged. Subsequent measurements were done in LD Power High with using the 6500K color temp.

Turning ECO mode ON saw a 2.6% reduction of light output in any picture mode. Changing the Laser power from High to Mid saw a 21% decrease in light output; changing from High to Low saw a 37% decrease in light output. When engaging the Cinema Filter, a 27.4% decrease in light output was measured.

JVC DLA-NZ8 ANSI Lumens

SDR Mode	High	Mid	Low
User 1 High Bright	2,501	1,950	1,575
Natural	1,999	1,559	1,259
Cinema	1,876	1,463	1,181
Film	1,332	1,038	839
User 1 to User 3	1,984	1,547	1,249
HDR Mode
HDR10	1,973	1,558	1,242
Frame Adapt HDR (FbF)	1,991	1,572	1,254
Frame Adapt HDR (SbS)	1,959	1,547	1,234
Pana_PQ	1,963	1,550	1,236
User 4 to User 6	1,982	1,565	1,248

Zoom Lens Light Loss. The DLA-NZ8's light loss when shifting from the widest zoom position to its longest telephoto position was 29.9%.

Brightness Uniformity. The JVC DLA-NZ8 projecting a 100-inch diagonal image resulted in measured brightness uniformity of 82% while in wide angle zoom, and 78% in telephoto zoom. The brightest portion of the screen was the middle bottom sector, and the dimmest the top left. The difference in brightness on a full white screen was not noticeable.

Fan Noise. JVC rates the fan noise for all units in the NZ line at 24 dB in Low mode. Using Room EQ Wizard software and a Umik-1 microphone, my theater room ambient noise floor is 33.3 dBA. The DLA-NZ8 measured at the following dB for the respective modes, in the following locations and distances:

LD Power Low

4 feet in front of unit: 38.5dB
3 feet below unit: 39.0dB
1 foot behind unit: 47.6dB

LD Power Mid

4 feet in front of unit: 39.6dB
3 feet below unit: 39.5dB
1 foot behind unit: 47.6dB

LD Power High

4 feet in front of unit: 47.3dB
3 feet below unit: 47.1dB
1 foot behind unit: 55.6dB

The above measurements were consistent regardless of SDR or HDR picture modes.

Input Lag. Input lag measurements while using Low Latency and 8K e-shiftX turned off measured with the following latency:

1080p/60: 39ms
1080p/120: 40ms
2160p/60: 46ms
2160p/120: 32ms
8k/60: 27ms

It was difficult to get readings with 8k e-shiftX on, as the image refreshed at a rate that the sensor would not accurately pick up. The few times I did get it to take a reading the input latency reduced even further. This is likely because 8K e-shiftX has a refresh rate of 240hz, which inherently reduces latency due to the high refresh rate. The above readings will actually be lower when 8k e-shiftX is ON.

Connections

• HDMI 2.1 (x2; HDCP 2.3; 48Gbps)
• RJ45 LAN 100Base-TX
• RS-232C
• Mini Jack (3.5 DC12v trigger)
• USB 2.0 Type A (service/firmware updates - no media playback)
• 3D sync x1 (Mini-DIN 3-pin)

Calibrated Settings

Calibrated image settings from any third-party do not account for the significant potential for sample-to-sample variation, nor the different screen sizes and materials, lighting, lamp usage, or other environmental factors that can affect image quality. Projectors should always be calibrated in the user's own space and tuned for the expected viewing conditions. However, the settings provided here may be a helpful starting point for some. Always record your current settings before making adjustments so you can return to them as desired. Refer to the Performance section for some context for each calibration.

SDR

Content Type: Auto

Picture Mode: Natural

More Settings

LD Power: Mid
Dynamic CTRL: Mode 1
Aperture: -12
Contrast: 0
Brightness: -6
Color: 1
Tint: 0

Color Profile: AUTO BT.709

Color Management: On

	Red	Magenta	Cyan	Yellow	Green	Blue
Hue	1	-1	0	0	0	1
Saturation	-1	-4	-2	-2	-4	-1
Brightness	-1	1	-1	-1	0	-1

Color Temp: 6500K

	Red	Green	Blue
Gain	-5	-1	0
Offset	-3	0	0

Gamma: 2.2

Color Selection: While Picture Tone: 3 Dark Level: -2 Bright Level: 1

MPC/e-shift

8K e-shift: On
Graphic Mode: Standard
Enhance: 5
NR: 0
BNR: 0
MNR: 0

Motion Control

Low Latency: Off
Clear Motion Drive: Off
Motion Enhance: Off

HDR

Content Type: Auto (HDR10)

Picture Mode: HDR10

More Ssettings

LD Power: Mid
Dynamic CTRL: Mode 1
Aperture: 0
Contrast: 0
Brightness: 0
Color: 0
Tint: 0

Color Profile: BT.2020 Wide (or Auto)

Color Management: On

	Red	Magenta	Cyan	Yellow	Green	Blue
Hue	-2	0	1	-2	0	-1
Saturation	0	-1	-2	-1	0	-2
Brightness	0	1	3	3	3	5

Color Temp: HDR10 (6500K)

	Red	Green	Blue
Gain	-6	-6	0
Offset	-1	-4	0

HDR Processing: Frame by Frame (When using Frame Adapt HDR)

Tone Mapping: HDR (PQ) (When using HDR10)
Color Selection: White
Picture Tone: 1
Dark Level: 1
Bright Level: 0

Theater Optimizer: Off

HDR Level: 1

MPC/e-shift

8K e-shift: On
Graphic Mode: High-res 1
Enhance: 5
NR: 0
BNR: 0
MNR: 0

Motion Control

Low Latency: Off
Clear Motion Drive: Off
Motion Enhance: Off

For more detailed specifications and connections, check out our JVC DLA-NZ8 projector page.

To buy this projector, use Where to Buy online, or get a price quote by email direct from Projector Central authorized dealers using our E-Z Quote tool.

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