Other little tweaks worth a passing mention include JVC’s Super Digipure processing for automatically optimising contrast based on an continual assessment of the source, and a rather useful little function which reins in peak whites to stop them looking ‘shiny’ (for want of a more scientific term!).
Pressed into action on the rather glorious Blu-ray transfer of vampire schlocker ”30 Days of Night”, the 65DS8DJJ provides us with plenty of reasons why it’s so wrong that rear projection has become such a neglected technology.
For starters, the sheer scale of the image is quite breathtaking. Somehow the extra 20in or so involved in going up from the popular 40-42in LCD and plasma screen size to this JVC behemoth seems to make far more difference than you’d expect, effectively turning your viewing experience from ‘TV watching’ into ‘genuine home cinema’.
Also remarkable is how phenomenally sharp the 65DS8DDJ’s pictures are. For better or for worse (given the amount of gore on show), ”30 Days Of Night” is one of the crispest, most detailed HD transfers around, and the 65DS8DDJ picks out every last pixel of that detail with frankly forensic accuracy. Ouch.
Not surprisingly, the sort of sharpness and detail I’m talking about is all the more satisfying because it’s being displayed across such a vast canvas.
The TV’s black level response is also terrific, if anything making that 10,000:1 contrast ratio claim seem pessimistic. Dark scenes like, well, pretty much the entire film (the clue’s in the title, OK?) exhibit practically none of the grey cloudiness you see to some extent with most flat TVs. As a result the endless darkness looks completely convincing, and you can fully appreciate the depth of field of the photography (much of which was filmed on a real outdoor, village-sized set).
You also get to see in perfect clarity one or two bits of action going in the background that are actually quite hard to make out on some flat TVs, such as a vampire crawling eerily across a distant rooftop as another hapless human victim walks alone along an empty street.
The 65DS8DDJ handles ”30 Days Of Night’s” tricky colour palette with aplomb, too. Most colours in the film are deliberately desaturated, yet the set handles the tricky resulting tones pretty much perfectly.
I said ‘most colours’ back there because one colour the film certainly doesn’t desaturate is the red of the copious amounts of blood lost by the residents of the film’s vampire-ridden town. Indeed, it’s in order to emphasise the red that the film-makers deliberately desaturated the other colours. So it’s really handy that the 65DS8DDJ is just as good with a vibrant crimson as it is with the film’s subtler fare.
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