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JVC's latest additions to their D-ILA projector lineup were announced in September 2024, introducing the NZ500/RS1200 ($5,999) and NZ700/RS2200 ($8,999). These models complete the current generation, positioned just below the NZ800/RS3200 ($15,999) and the flagship NZ900/RS4200 ($25,999), which ProjectorCentral Reviewed back in May 2024. Today, we're examining the NZ500/RS1200, JVC's entry-level model in the NZ/RS series, scheduled for release this month. The step-up NZ700 model is primarily different in its slightly higher lumen count (2,300 vs 2,000 lumens), a doubling of rated native contrast ratio from 40,000:1 to 80,000:1, and inclusion of a Cinema Filter to achieve wider color gamut (at the expense of some brightness).

The NZ500 offers excellent value, delivering some of the industry's best performance in contrast, black levels, and Dynamic Tone Mapping (DTM). It maintains outstanding quality at a reasonable price with added refinements in overall functionality.

The NZ500 (the consumer model) and the RS1200 (the custom-install Pro series model) are identical in performance; the only difference is a gold accent ring on the Pro series. Therefore, this review applies equally to both models.

Features

The NZ500, announced in September 2024, matches the price of its predecessor, the DLA-NP5. Unlike the NP5, which was a bulb-based projector, the new NZ500 features JVC's BLU-Escent laser diode light source. While it doesn't use the third-generation BLU-Escent laser diode found in the NZ800 and NZ900 models, it still delivers excellent performance.

The new NZ500 and NZ700 are said to be the smallest native 4096x2160 projectors available at the time of writing. The NZ500 utilizes JVC's Gen 2 D-ILA (Direct-Drive Image Light Amplification) 0.69-inch native 4K (4096x2160) chipset, while the step-up NZ700, NZ800, and NZ900 all use the company's 3rd generation chip. As a three-chip projector, the NZ500 employs one chip per primary color (red, green, blue), which brings the usual benefits of equal white and color brightness and immunity from rainbow artifacts. During inspection, I found the panels to be very sharp, with only a small amount of convergence adjustment needed. When installed in a tabletop orientation, the red panel on the far right required a slight shift, which would need a zone alignment since adjusting the entire panel would misalign the red on the left side. Notably, this minor misalignment was not visible from a typical seating distance but was only noticeable when standing directly in front of the screen.

The NZ500 uses a new High Contrast Optical Block. JVC introduced a revised High Contrast Block in the previous generation NZ8 and NZ9 projectors; however, it was not available on the NP5. The NZ500 offers users a native contrast ratio of 40,000:1, which, based on our measurements, is accurate. In an accurate picture mode without laser dimming, measured at maximum throw with the aperture fully closed, I recorded a contrast ratio of 39,812:1, and with the aperture fully open, 26,798:1. Depending on throw distance, a fully open aperture can yield around 22,000:1, with the potential to increase contrast by closing the aperture and adjusting throw distance. It's important to note that this is not an improvement over the NP5, which also had a native contrast ratio of 40,000:1.

As stated previously, the NZ500 uses the BLU-Escent Laser diode (plus yellow phosphor wheel), which is a first for JVC's entry level LCoS model. It is capable of providing up to 20,000 hours of life to half brightness in standard mode. The NZ500 received a slight increase in its rated ANSI lumen specification compared to its predecessor, going from 1,900 ANSI lumens on the NP5 to 2,000 ANSI lumens on the NZ500. During my testing of the NZ500, I measured 1,938 ANSI lumens in High Bright mode, which is 3.1% below the specified 2,000 ANSI lumens. In more accurate picture modes, the ANSI lumens measured between 1,647 and 1,748, depending on the specific mode.

The NZ500 utilizes JVC's 101-step LD Power control, as seen in its sibling models, offering a scale from 0 to 100. However, the fan curves are different, even compared to the NZ800 and NZ900, which we covered in our initial review of the NZ900. The fan curves for the NZ500 adjust fan speed and audible noise within four ranges: 0-10, 11-46, 47-74, and 74-100. While there is a slight increase in fan speed around 95, it quickly stabilizes to a lower audible noise level. The laser power level of 74 is also where HDR picture modes for Frame Adapt are set by default.

The NZ500 does not support 4K at 120Hz like its predecessor, so its HDMI ports do not have full 48Gbps bandwidth. Instead, the HDMI ports on the NZ500 operate at 32Gbps with Fixed Rate Link (FRL) of 8Gbps across four lanes. During my testing, I did not encounter any issues with HDMI handling or connectivity. However, if needed, HDMI signaling can be adjusted from the Standard setting (HDMI 2.1) to Option 1 (HDMI 2.0) or Option 2 (HDMI 1.4). These naming conventions replace the previous EDID A, B, and C labels, which many users may be familiar with.

The NZ500 also supports updates to Frame Adapt HDR tone mapping with Gen2 Frame Adapt HDR, introduced at CEDIA 2023 and made available in firmware update 3.0 for the NZ series in November 2023. Additionally, the NZ500 can now utilize DML (Display Mastering Luminance), allowing Frame Adapt HDR to improve tone mapping based on content-specific information.

The NZ500 also received the new Deep Black function, previously introduced in the NZ800 and NZ900 models. This feature works exclusively with Frame Adapt HDR for tone mapping and can be set to either On or Off. As noted in the NZ900 review, there's generally no reason to turn it off. Deep Black employs an algorithm to enhance tones in dark areas of images, adding depth to scenes without sacrificing shadow detail, effectively enabling more accurate EOTF tracking at the lower end. These enhancements ultimately deliver a consistent and impressive HDR experience for viewers who prefer not to use external tone mapping.

The NZ500 also receives the new SDR picture mode Vivid which was introduced in the NZ800 and NZ900. Vivid is more so designed for animation, CGI, games, etc. It uses a cooler color temperature and its own gamma curve to provide more vibrant images and pop to those that want it. The NZ500 also supports HDR10+ and Filmmaker Mode as well, which was also present on its predecessor.

The major change users will notice with the NZ500 from the NP5 or any earlier NZ model is its chassis design. The NZ500's volume has decreased by approximately 35% compared to its predecessor. Its weight has dropped to around 32 pounds, down from the NP5's 42 pounds. Additionally, the overall size has been reduced, making it much easier for a single person to handle and install. The new dimensions are 17.72 x 7.16 x 18.88 inches (WHD). Although this may not seem significant, having handled many JVC models over the years, I appreciate the smaller footprint and lighter weight. The chassis also features an updated intake and exhaust system for cooling. The intake is now at the front, with exhaust at the rear, providing more flexibility for installations and avoiding any potential for warm exhaust to affect the image.

The NZ500 is equipped with a new 80-mm, 15-element, 11-group lens with fully motorized shift, zoom, and focus. It is notably sharp and effective. This lens is larger than the 65mm lens used in the earlier NP5 as well as the NZ8, but the update comes with a reduction in zoom range compared to its predecessor, from 2.0x to 1.6x, and in vertical and horizontal lens shift, now offering 70% vertical and 28% horizontal range—important factors to consider for planning installations. Image size tops out at 200 inches diagonal. The throw ratio of the NZ500 is 1.34 to 2.14 for 16:9 and 1.26 to 2.01 for 17:9 (1.9:1). The NZ500 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 NZ500 projection calculator. Note that the calculator must be properly set to either 16:9 or 1.9:1 to provide accurate results for your screen ratio.

The next major change is the new menu system. I believe that the user interface and experience is very important for a product, and updates and refreshes can improve usability and keep things feeling fresh—as long as they make sense. However, I feel there was a slight misstep here. While I agree that the menu could use an update, the structure itself could benefit from additional refinement.

In the NZ800 and NZ900, as well as in previous JVC models, the menu consisted of five main tabs (six if you include the Info tab). Within each tab, there were groups of menu options, some of which had submenus indicated by a small arrow pointing right. Selecting an option with an arrow would open a new menu or list of options. For example, selecting "Color Temp" would open the color temperature menu, where users could then choose from a list of different color temperatures.

In the NZ500, however, these options now have their own individual tabs within the selected main menu. For instance, if "Picture Settings" is the selected default menu, there are now separate tabs for Mode Settings, Picture Adjustment, Color, Color Temp, and Gamma. I appreciate this approach, though I noticed that when resetting settings, it doesn't always reset everything as expected—it's more specific to the page you're on.

Overall, I like this layout. However, I'm less enthusiastic about the addition of the "Setting Menu Select" tab, where you define the default menu that appears when pressing "Menu" on the remote. In this area, you can select either Picture Settings, HDMI Settings, or Installation Settings to tie to the remote's Menu button. If, for example, a user wants quick access to HDMI settings to adjust options like Auto Pic Mode Select or Content Type (now housed here), they will need to switch the preferred menu to HDMI settings.

Additionally, some items that were previously consolidated into single menus are now split into separate tabs. For instance, "Eco" now has its own tab, whereas it used to be part of system settings. Also, if "Picture Settings" is set as the preferred menu and you press the Lens Control button on the remote, it changes the preferred menu to Installation Settings since Lens Control is only accessible from there. This results in needing to reset the preferred menu back again. Overall, the system isn't bad, but I think it could use some refinement in areas, like displaying all information in the Info tab. With plenty of room available, there could be a single page rather than requiring users to press down to view light source information on a second page. That said, once the unit is set up, most users won't be in and out of the menus constantly, so this may not be an issue for most.

The remaining differences in the NZ500 compared to the NP5 include a few exclusions and reductions in memory options, such as installation modes and lens memories, where the NZ500 allows a maximum of five for each. Additionally, while the NZ500 does not support the Theater Optimizer feature, it does include Screen Adjust, which lets you input details about your screen brand and material to account for the necessary screen offset. A change was seen with Clear Motion Drive feature, which utilizes Black Frame Insertion and is only selectable with 60Hz content instead of both 60Hz and 24Hz.

There are also some changes from the old NP5 in the I/O with the elimination of the 3.5mm 12V trigger jack as well as the RS232C port. More important for some potential buyers will be the removal of the 3D Sync output as this feature is not supported; you now have to step up to the NZ800 or NZ900 for 3D playback. Furthermore, there no physical buttons on the unit itself for control. The included remote is the same standard, compact remote that has been shipped with the last few generations of JVC projectors.

Performance

Color Modes. The NZ500 doesn't offer as many picture modes as its larger siblings, though still provides more than enough options for most users. It includes six dedicated picture modes for SDR: Natural, Cinema, Vivid, Filmmaker, and two custom modes, SDR 1 and SDR 2, which replace the usual User picture modes. For HDR, there are five modes, including Frame Adapt HDR 1 and HDR 2, Filmmaker Mode, and two custom HDR modes (HDR 1 and HDR 2), which also take the place of the previous User modes. HDR10+ and HLG each have a single picture mode.

As we noted in our review of the NZ900, some picture modes allow very limited customization. For example, in Filmmaker Mode, settings like gamma and color temperature are fixed, and several features cannot be adjusted. HDR10+ is similarly restricted, and in Vivid mode, users cannot change the color temperature unless it is adjusted in one of the two custom slots available.

JVC projectors offer extensive calibration options, including standard global controls for Contrast, Brightness, Color, and Tint. They also provide 2-point RGB white balance controls for Gain and Offset, as well as a full Color Management System (CMS) that allows adjustment of Hue, Saturation, and Brightness. Additionally, Picture Tone settings help fine-tune gamma calibration, enabling adjustments to White, Red, Green, and Blue levels either across the entire picture tone or specifically targeting the bright or dark levels.

I had the opportunity to test the new JVC Autocal software, which is available as a free download from JVC.com and supports the NZ500 and NZ700 models and introduces an exciting new feature. The core functionality of Autocal remains the same, with support for Spyder X and X2 meters, allowing for various calibration modes: Gamma and Color, Gamma Only, or Color Only, across different quality levels. The notable addition is the ability to add reference meter data to the Spyder meters from a reference spectroradiometer, using this as an offset to enhance the overall accuracy of the calibration.

To use this new feature, a Spyder meter must be connected to the Autocal software, and the projector must also be connected to the software. Once these connections are made, the user can select a new icon resembling the Spyder. This icon directs the user to the option to enable Reference Meter emulation.

After enabling emulation, the user selects "Measure," which prompts the JVC display to show its internal test patterns. This data is logged and displayed on the page. When complete, the user selects test patterns—white, red, green, and blue—at the bottom of the screen to display. At this stage, the user will use their reference spectroradiometer to measure each test pattern and input the xyY data for each.

To obtain this data, the user will need to use either calibration software or the meter's software/on-screen display, if available, as there is currently no way to directly connect a high-end reference meter to the calibration software.

Once this is complete and the user begins the calibration process, they will be able to enable or disable the reference meter data. This feature functions well, but it's important to remember that even with reference data applied to the meter, users are still limited by the low-light reading capabilities of the Spyder meter. Consequently, they need to consider this limitation and use various techniques to ensure that the initial measurements capture data accurately, as these readings are very low stimulus.

This can be achieved in several ways, such as reading off the lens, zooming the image to be small and bright, and more. Ultimately, I would like to see native support for high-end meters and the option to use smaller calibration windows (e.g., 10%, 25%) instead of full-screen fields. Still, this feature is definitely a step in the right direction.

Out of the box, the NZ500 performed well, and 6500K was actually the closest color temperature to being accurate—an improvement, as 7500K was often closer to the D65 standard in earlier JVC projectors. Most users would likely be pleased using the NZ500 in either "Natural" or "Filmmaker" mode with a gamma setting of 2.4, allowing them to enjoy their new projector without much hassle or image tweaking. Although 6500K was slightly warm out of the box, it can be easily adjusted with a few simple tweaks to the Gain control.

After testing various content using the out-of-box picture modes, I found that the image quality was quite good. However, I could see the NZ500 would benefit from calibration, as the image appeared slightly warm and the reds were a bit undersaturated. If a user chooses not to calibrate, I recommend starting with a color temperature setting of 6500K and selecting a gamma of 2.4. For HDR, I suggest using Frame Adapt HDR with Frame-by-Frame mode, Auto Wide, and Deep Black On in HDR processing. Additionally, use the High Dynamic Control (CTRL) setting for both SDR and HDR. If the image appears too warm try using 7500K color temperature.

Those who choose to calibrate the NZ500 have several options available. For a DIY approach, they can use the Auto Calibration software. If they also have a reference meter, they can apply reference meter emulation offsets, upload custom gamma tables, or simply adjust the gains and use the Picture Tone settings. Either way, the NZ500 calibrates effectively.

I calibrated the NZ500 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. The NZ500 was calibrated to both a 100-inch diagonal screen size and a 135-inch diagonal scope screen size on a Stewart Filmscreen StudioTek 130 G4 projection screen. I ran my normal measurements to confirm what I saw in OOTB viewing prior to calibration.

The pre-calibration measurements for the NZ500 showed some fairly average errors, with DeltaE ranging between 1.2 and 2.9 on average, and maximum errors reaching up to 4.6 dE. Grayscale, when using the 6500K color temperature, had an average error of 2.9 dE and a maximum error of 4.4 dE. Most other measurements averaged below 2 dE, though maximum errors were generally in the 4 dE range, peaking at 4.6 dE. (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.)

For specific metrics, the maximum dE error for color gamut/color points was 4.5 dE, the 10% saturation sweeps averaged 4.5 dE, and the 10% luminance sweeps had an average of 4.6 dE. The 150+ patch Color Checker, which tests accuracy for a wide range for color swatches representing blue sky, various skin tones, etc., showed an average dE of 4.5.

HDR tracking was quite accurate, and while the mapping of Rec.709 within BT.2020 and P3 within BT.2020 wasn't perfect, it was still very good. Higher errors appeared due to luminance, which is common with projectors. However, when luminance errors were removed, tracking was very good.

Although the NZ500 only promises 100% of the Rec.709 color space, it offers impressive gamut coverage, which most users will find highly satisfactory. In its BT.2020 color mode, the NZ500 measured 88.2% xy and 93.8% uv coverage of the P3 color space, along with 99.8% coverage of Rec709. Its BT.2020 coverage measures at 64.59% xy and 69.31% uv. As mentioned, the NZ500 does not use JVC's Cinema Filter, which means it maintains strong light output without sacrificing color coverage. This approach is similar to the performance of the previous generation NZ7 model.

I calibrated the NZ500 multiple times to test various settings, but for my main calibration, I opted to upload a custom 1D LUT gamma table into the unit and made a few minor adjustments to the CMS for SDR. For HDR, I ran an auto-calibration focused solely on gamma to address a slight RGB imbalance I noticed between 35% and 50% stimuli, where blue was slightly overrepresented. Although this imbalance wasn't visible to the naked eye, it was measurable, and I wanted to correct it. I targeted the industry-standard D65 neutral gray white point using the Gain controls. This resolved all issues observed in pre calibration measurements and achieved generally excellent results.

The post-calibration DeltaE errors improved significantly for both SDR and HDR. In SDR, the grayscale average was 0.7 dE, with a maximum of 1.2 dE. The color gamut had an average DeltaE of 0.5, with a maximum of 0.9 dE. The large 150+ patch color checker measured an average of 0.6 dE with a maximum of 1.8 dE. Saturation sweeps at 5% showed an average of 0.4 dE and a maximum of 1.3 dE, while luminance sweeps at 10% averaged 0.5 dE with a maximum of 1.7 dE. Post-calibration HDR results showed an average of 2.3 dE with a max of 6.6 dE, primarily due to luminance, and a color space average of 2.5 dE with a maximum of 6.5 dE due to incomplete P3 color space coverage.

The devices I used for reviewing content post calibration were an R_Volution Player One 8K media player, Kaleidescape Terra Prime movie server, and Apple TV 4K.

1080p/SDR Viewing. I decided to watch Castlevania Season 4, Episode 6 on Apple TV 4K, and the show looked fantastic. The visuals were sharp and crisp, with colors that truly popped. From the deep reds in Carmilla's fight scenes to the vibrant blues in the spell Hector used to imprison Lenore, every detail was stunning. The entire show appeared incredibly rich, with vibrant, beautifully saturated colors. This quality was consistent in other animations I watched in both SDR and HDR.

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4K/HDR10+ Viewing. I watched Fallout, Episode 1 in HDR10+ on the Apple TV 4K. During the opening scene at the birthday party with Cooper and Janey, the skin tones looked accurate, and the greens of the backyard and the pastel colors of the clothing were vivid. Highlights bounced beautifully off the chrome of the cars as people began to flee when the bombs started going off. Once the explosions began, the colors were rich and well-defined. With some projectors, this scene can appear overly white, lacking color, or showing issues like banding and posterization. However, the NZ500 displayed none of these issues, and the show looked fantastic overall.

4K/HDR10 Viewing. I watched Black Panther in 4K HDR on the R_Volution Player One 8K media player. I focused on the opening scene where T'Challa attacks the convoy. This scene is very dark and, depending on the projector, can appear almost completely black or have a milky washed out look to it. The NZ500 performed outstandingly, especially with Frame Adapt HDR's Frame-by-Frame feature and the Auto Wide tone mapping. The scene was clearly visible without anything appearing too dark or obscured. The blacks and contrast were excellent, with no lifted, washed-out, or milky effects on the picture.

The next movie I watched was Lucy in 4K HDR on Kaleidescape. Skin tones appeared natural, and the whites were very clean. The scene I tend to focus on is when Lucy reaches 99% to 100% of her brain capacity, causing the room to white out as she begins building the supercomputer. The shadow detail was good, and the subtle red in the special effects tendrils that reach out in the room and during the construction of the spire was clearly visible. As she moved through earth's different time periods, the canyon scene featured clean skies with no banding or posterization. The Times Square scene was sharp and detailed as well. Overall, the movie was presented very well.

Conclusion

The JVC NZ500/RS1200 is an outstanding projector, delivering impressive performance and picture quality that set a high standard in its class. At the time of this review, no other projector at this price point quite matches its level of performance. JVC has updated one of its most popular models with a few tradeoffs, resulting in a compact yet powerful home cinema projector.

The NZ500/RS1200 is now approximately 35% smaller than its predecessor, a welcome change for anyone who has handled the previous, heavier chassis. This reduction in size allows for easier installation, often manageable by a single person.

When examining the NZ500/RS1200's feature set—such as its true native 4K resolution (4096x2160), HDR10+ support, exceptional dynamic tone mapping, class-leading contrast, 94% P3 color coverage, and now one of the smallest footprints in its category—the price-to-performance value becomes clear. JVC has managed to maintain the same $5,999 price point as the previous model, adding further appeal to this projector.

However, it's worth noting again that this model has also lost some functionality compared to its predecessor, the NP5. Missing features include 4K/120Hz support, 3D support, Clear Motion Drive being compatible with both 24Hz and 60Hz content (and only working in 60Hz with Black Frame Insertion in the NZ500), additional profile slots for Installation Modes, extra User picture modes, elimination of some I/O control options, and slightly reduced horizontal and vertical lens shift range. These omissions are valid concerns, especially given that the NP5 was quite close in native contrast and brightness. Nonetheless, the NZ500 benefits from enhanced HDR tone mapping, leveraging Display Mastering Luminance, a new Deep Black function, quieter operation due to optimized fan curves, and of course, a long-life laser light source.

I believe that some of these omitted features are an acceptable tradeoff, given the unit's laser engine and compact, quiet design. However, I would have appreciated seeing some of these features retained at this price level. For users who need these features, the higher-end models—such as the NZ800/RS3200 and NZ900/RS4200—do offer them.

The NZ500/RS1200 doesn't feel like a simple refresh or evolution but rather a new model altogether. My only complaint is with the new menu structure: while some changes make sense, I find others unnecessarily cumbersome. Once the unit is set up, however, there's little need to access the menu frequently, so this may not be a significant issue for most users, and it very well could be a "me" problem since I do spend a fair amount of time in menus for testing. Outside of that, the only real potential deal breakers I could see for some buyers is not having a low latency mode for gaming, and possibly the lack of 3D, which is still available on the higher end models.

Positioned as the unit to beat in terms of price-to-performance, the NZ500/RS1200 represents formidable competition within its price range. With three additional high-performing models available, JVC offers solid options across its product line—making it likely that, if the NZ500 doesn't meet all your needs, one of the other models will.

Measurements

Brightness. The JVC NZ500 is rated for 2,000 ANSI lumens. The brightest picture mode available can be achieved by using High Bright Profile Off. Using these settings the NZ500 measured 1,938 ANSI Lumens which is about 3.1% lower than JVC's listed specification. When using Clear Motion Drive on its Low setting, a 25% brightness decrease occurs, while using the High setting resulted in only a slightly higher, 28.8% decrease in brightness. (Note, however, that JVC says it engineered the High setting for 50% black frame insertion.)

JVC NZ500 ANSI Lumens

SDR MODE	LD Power 100
SDR 1 High Bright	1,938
Natural	1,686
Cinema	1,748
Vivid	1,667
Filmmaker (SDR)	1,647
SDR 1-2	1,705
HDR MODES
Frame Adapt HDR 1-2	1,687
Filmmaker (HDR)	1,686
HDR 1-2	1,705
HLG	1,647

Zoom Lens Light Loss. The NZ500's light loss when shifting from the widest zoom position to its longest telephoto position was 15.41%.

Brightness Uniformity. The JVC NZ500 projecting a 100-inch diagonal image resulted in measured brightness uniformity of 85% while in both wide-angle zoom or telephoto zoom. The brightest portion of the screen was the middle center with 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 models, including the NZ500, at 24 dB with LD Power at minimum, using the industry-standard multipoint averaged measurement conducted in a soundproof room. Using Room EQ Wizard software and a Umik-1 microphone, my theater room ambient noise floor is 33.3 dBA. Our real-world measurements, which are always higher than the factory spec, were taken at different LD laser power settings at a distance of 3 feet and came in as follows:

LD Power 0
Front: 35.9
Rear: 35.6
Left: 34.8
Right: 35.1
Top: 35.8

LD Power 46
Front: 36.1
Rear: 36.2
Left: 35.4
Right: 35.3
Top: 36

LD Power 100
Front: 38.2
Rear: 38.1
Left: 37.1
Right: 41.3
Top: 38.9

Input Lag. Input lag measurements were done using the SDR1 picture mode with Laser Dimming Off, using a Murideo Generator Seven-8K signal generator and optical sensor. No Low Latency Mode is available. The measurement for 1080p/60Hz was 34 milliseconds. The measurement for 4K/60Hz was 51ms, and was the same in various picture modes. JVC indicated during our factcheck that both 1080p/60 and 4K/60 should measure around 34ms. They are investigating what may be causing the discrepancy.

Connections

• HDMI 2.1 (x2; HDCP 2.3; 32Gbps FRL: 8G@4L)
• RJ45 LAN 100Base-TX
• USB 2.0 Type A (service/firmware updates - no media playback)

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 (SDR): Natural

Picture Adjust

LD Power: 46
Dynamic CTRL: High
Aperture: -5
Contrast: 0
Brightness: 0
Color: 0
Tint: 0

Color Profile: AUTO / BT.709

Color Management: On

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

Color Temp: 6500K
Gain Red: -18
Gain Green: -16
Gain Blue: 0
Offset Red: 0
Offset Green: 0
Offset Blue: 0

Gamma: Custom 1
Correction Value: Import

MPC/e-shift

Graphic Mode: Low
Enhance: 2
Smoothing: 0

Clear Motion Drive: Off

HDR

Content Type: Auto

Picture Mode (HDR10): Frame Adapt HDR 1

Picture Adjust

LD Power: 74
Dynamic CTRL: High
Aperture: -9
Contrast: 0
Brightness: 0
Color: 0
Tint: 0

Color Profile: AUTO / BT2020

Color Management: On

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

Color Temp: HDR10
Correction Value: 6500K
Gain Red: -8
Gain Green: -7
Gain Blue: 0
Offset Red: 0
Offset Green: 0
Offset Blue: 0

MPC/e-shift

Graphic Mode: Low
Enhance: 2
Smoothing: 0

Clear Motion Drive: Off

For more detailed specifications and connections, check out our JVC DLA-NZ500 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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