Verifica bene le scritte con i caratteri della giusta dimensione, la cosa si nota subito ma anche con i caratteri a dimensioni normali, soprattutto sulle "X" si vedono le diagonali non corrette. Il Menu' del JVC ovviamente non c'entra.
Oggi vedo di mettere altre foto di qualita' migliore.
Edit per Paolino: i dati tecnici sull'Eshift e sul discorso dei pixel mostrati, tutti quelli del 4k ma non nello stesso momento, che porta all'effetto di cui parlo.
E-Shift technology exploits both spatial and temporal means to present a 4K-like image, all while using standard 1080p imagers in the projector. First, the projector takes 1080p video and scales it to 4K resolution at the video processing stage. There are several detail enhancement algorithms at this stage, which JVC calls “Multiple Pixel Control”, or “MPC”, the name apparently alluding to a standard feature of scaling (and associated processing), whereby groups of pixels are analysed so that intelligent guesses can be made when interpolating up to a higher resolution. We’ll talk about this some more in the next section – for now let’s stick to talking about the optical side of the system.
So, now we have a 4K sized image, but we don’t have 4K sized imagers to show it with. This is where e-shift 2 steps in. That 4K-sized image is cut into two sub-frames by subsampling it in a “quincunx” pattern, which alternates on each sub-frame. Remember, 3840×2160 (one of the resolutions referred to as “4K”) is exactly double that of the Full HD 1920×1080. That means that the video processor can move through the 4K-sized image in a diagonal zig-zag using half of the pixels, getting us back to 1920×1080. That pattern is then repeated for the second sub-frame, only this time, the pixels that were skipped over for the first sub-frame are selected instead.
These two sub-frames are then displayed on the high-speed 1920×1080 LCOS chips in rapid succession, in the same way that the Left and Right eye components of 3D images are during stereoscopic 3D display (they’re temporally interleaved). The first group of pixels (the first sub-frame) would be shown, and then a split-second later, in the same position, the second group.
The two sub-frames are displayed so quickly that, for the most part, the human visual system sees them as one complete image, thanks to persistence of vision. However, high-speed drive (the temporal element of e-shift 2) is not enough to give the impression of a higher resolution output. It’s not enough for the additional pixels to be displayed briefly in the same space as the original ones – that would degrade the resolution, not improve it. The second sub-frame has to appear at a slightly different position on the screen.
This is achieved by exploiting a property of polarised light called birefringence, not by physically moving the panels (thank goodness). A separate component in the optical path (JVC calls it the “e-shift device”) causes the image to be optically shifted down and to the right by approximately half a pixel, in time with the LCOS panels drawing the second sub-frame (similarly to how 3D active shutter glasses deliver the two sub-frames which make up a 3D image to the viewer’s eyes, only instead of blocking light like 3D glasses would, the e-shift device instead moves it, inside the projector). So, two 1920×1080 images are overlaid diagonally offset, creating the effect of a doubled 3840×2160 “Ultra HD”/4K frame. In this way, the 1920×1080 panels can produce pixels in two different positions on the screen, without the panels ever having to move. . . .
The most pressing question for consumers is, “does it actually look better?” On the whole, yes. Images projected using the 4K upscaling and e-shift2 optical output have the appearance of having higher resolution, and feature smoother diagonals. What’s more, there is hardly any pixel grid visible on the image as a result of the system.
With that in mind, you might be surprised to read that turning on the e-shift system causes the actual resolution, as seen with single-pixel line pairs in resolution test patterns, to drop. Black and white alternating line pairs, used to assess resolution, appear more defined when the projector is operating in its “original” 1080p mode. And yet, with actual content, we still preferred to have the e-shift system enabled. We wondered if the black and white line pairs could cause temporal crosstalk between Sub-frame A and Sub-frame B. Remember, in a resolution test pattern, the lines are packed directly beside each other, and to display this with e-shift, some of the pixels on the imager may be put in a position where they must rapidly switch between white and black. Therefore, we might be seeing lessened resolution with these patterns due to the extreme changes we’re asking the LCOS chips to make. (The idea that static resolution can be impacted by the panels’ motion resolution is a concept that still bends our minds). Real movie content is not so synthetic and challenging as this, which would explain why we had no complaints during actual usage: for example, asking the LCOS chips to change from one extreme of the dynamic range to another (white to black) is a harder task than asking them to draw, for example, similarly coloured pixels in an actors’ face.
And on top of all that, there is also the good old fallback of viewing distance. Even with our test pattern torture test, resolution loss just isn’t visible from a few feet back, where even a good pair of eyes becomes the limiting factor in getting crisp images into your brain. Regardless, the choice of whether or not to use this novel system is in the viewer’s hands. We certainly found it to be beneficial, all things considered, and are still impressed that someone thought of it.
