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Then there’s the screen’s Intelligent Colour Management, which figures out which objects in a picture you’re likely to be focussing on, and pushes the colours of those objects slightly harder, in much the same way your eye does when watching real-world events.
The set has processing for motion, too, in the form of JVC’s Clear Motion Drive. This combines 100Hz with a noise reduction system that specifically targets noise associated with moving objects without - it’s claimed - making those objects look soft.
The effort JVC has put into the 32WX50’s picture engine room definitely seems to go some way towards explaining/justifying the screen’s extraordinary price. But custom installers - as their name suggests - will also demand a pretty serious amount of calibration flexibility from a screen targeted directly at their needs.
Happily JVC has learned from the harsh experience of its first, distinctly inflexible (though still great!) D-ILA projectors, and equipped the 32WX50 with a bounty of fine-tuning tools. As a small flavour of what we’re talking about, you can adjust the matrix and space of colours, as well as their core temperature; the BY gain and BY/RY angle of the hue setting; and the drive and cut-off values of the RGB colour primaries. Plus there’s a really extensive colour management system.
At first glance, after some careful and unusually - dare I say enjoyably?! - extensive calibration work, the 32WX50’s pictures look good. In fact, they sometimes look absolutely outstanding.
The chief constituent in this grand first impression is the screen’s colour response. This is to some extent predictable given how much effort JVC has put into colour reproduction. But what isn’t predictable is just what a profound difference all the processing and the wide colour gamut system actually make.
Saturations across the colour spectrum are presented with outstanding richness and dynamism, giving pictures an immediate and dramatic level of punch.
Even better, though, is the breadth of colour palette the screen can portray. This adds further to the image’s effortless sense of vibrancy, and perhaps most tellingly of all, it allows the screen to produce what are for my money the most subtle colour distinctions and blends I’ve ever seen on a flat TV.
It’s hard to describe just how much this latter point adds to pictures. The best way I can put it is that it gives objects a more three-dimensional presence (though the screen does not display actual 3D!); makes images - especially those featuring people’s faces - look more natural and ‘HD’; and finally makes high quality HD sources, especially digital photographs, look more detailed.
Talking of digital photos, the extra range of the 32WX50’s colour palette is immediately obvious to even an untrained photographic eye, as the breathtaking detailing noted a moment ago is joined by colours so natural that you’d swear you were looking through a window at a real world, rather than just ogling a high-resolution digital photograph.
Helping the 32WX50’s colours make their class-leading point is a very intense brightness for such a slender screen.
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