The dock does feature Dolby Virtual Surround and can double as a computer speaker system, but the rotating holder is something I can't quite get behind as a concept. Watching a movie on your iPod or iTouch is convenient because of its portability, but if it's tethered to a dock, why not just use your TV or monitor? If you disagree, the XS-SR3 will be available this month for $150. [JVC]

The TH-BA3 system is a 280 watt 5.1 home theater that doesn't let any wires get in the way. The sound bar has a built in power-amplifier, one analog and two optical digital inputs and decodes Dolby Digital, DTS, and Dolby ProLogic II surround signals. Also new today is the 180 watt TH-BS7, a 4.1 channel system whose centerpiece is mountable sound bar that's a scant 1.4" tall by 1.2" deep, with a wee 6" wireless subwoofer to match.

The Yamaha YSP series is still our pick for best-in-class because of its sonar-like sound steering, but these two JVC systems do tickle our fancy. Both systems will be available this month, which I hope anyone with my Christmas list in hand picks up on. The TH-BA3 runs $550 while the TH-BS7 will set you back $600.

JVC LAUNCHES DUAL WIRELESS AND SUPER-SLIM SOUNDBAR SYSTEMS

New TH-BA3 includes wireless rear speakers; TH-BS7 features a slender soundbar and slim, wall-mountable amplifier.

WAYNE, NJ, December 14, 2009 - JVC today introduced a pair of soundbar home theater systems, offering consumers a home theater sound solution to meet a range of budgets and needs. Among the two new systems is the world's first dual wireless soundbar system that features a wireless subwoofer and wireless surround speakers. The other is highlighted by a super-slim soundbar and a thin, wall-mountable amplifier.

JVC's new dual wireless soundbar system is the TH-BA3, a 280-watt, 5.1-channel surround sound system that includes a sound bar, wireless subwoofer and wireless rear speaker kit comprised of wireless left and right surround speakers and a wireless receiver. The sound bar contains four speakers - one each for the left and right main channels and two for the center channel. Also built into the sound bar is the power amplifier, surround decoding, system controls and the transmitter for the wireless surround speakers. It offers one analog and two optical digital inputs and decodes Dolby Digital, DTS and Dolby ProLogic II surround signals.

The new JVC TH-BS7 system is designed to match the slimmest of flat panel HDTVs. It includes a sliver of a soundbar that measures just 1.4 inches (36mm) tall, an even slimmer wall-mountable amplifier/control unit and a wireless subwoofer.

The 180-watt, 4.1-channel TH-BS7 owes its slim design to JVC's own Direct Drive speaker technology that uses a unique voice coil design and strong neodymium magnets to deliver outstanding sound quality and a broad soundfield from a super-slim speaker. The design allows the TH-BS7's soundbar to boast a frequency range of 200 - 20,000 Hz that falls to just 200 - 10,000 Hz at 360 degrees off-axis. The soundbar features four JVC Direct Drive speakers - left and right main channels and left and right surround channels - each driven by 20 watts. The two surround channels are processed using JVC's Front Surround technology to provide a surround sound effect without the need for rear speakers.

Complementing the slim design of the soundbar is the system's amplifier/control unit. It measures just 1.2 inches deep and can be wall mounted. It decodes Dolby Digital, DTS and Dolby Pro Logic II, and offers one analog and three optical digital inputs. The system's wireless subwoofer features a six-inch woofer powered by a 100-watt amplifier.

[JVC]

Weighing only 270g, it's also the lightest. The HDD has 120GB of storage for you to fill up with 1080p videos of your dog, and the sensor is a 1/4.1" 3.32-megapixel CMOS job. 30x optical zoom and 200x digital zoom, you can playback footage on the 2.7-inch LCD screen or upload easily to YouTube thanks to the quick upload function. A microSD/SDHC slot, USB and HDMI ports round the camcorder, which measures 53 x 63 x 115mm, off nicely.

Available in Japan from tomorrow in black, red and silver colorways, we should see more of the GZ-HD620 come January at CES. [Akihabara News]

The GZ-MG980, GZ-MS230 and the GZ-MS210 have been announced for the Japanese market under the Victor JVC branding, with US pricing and availability expected to be confirmed at CES.

With a 10.7-megapixel, 1/6-inch CCD sensor, the video on the GZ-M980 isn't quite full HD at just 720 x 480 resolution, though the 39x (F1.8 - 4.3) optical zoom and 80GB HDD are pretty decent. An SD/SDHC slot rounds it off.

Measuring in with similar specs, the GZ-MS230 misses the generous 80GB capacity of the former model, with just 8GB instead. The GZ-MS210 is the most basic of the three, with no internal memory—just two SD/SDHC slots. Japanese conversions pit these three at $690, $515 and $460 each. [CrunchGear]

GM's offering in-car internet for $500 and +$29 a month. Great! This is a stupid thing to get—think about devices like the MiFi, and ask yourself who would buy this. Plus, do you really want to buy a GM? If you go American, go Ford. They have cool tech! [Engadget]
Apple stores are ditching those clunky handheld point of sale computers—which are Windows-run—for iPod touches that can do the same thing. There's no way to write this story up without making an easy Microsoft joke, which isn't fair because those point of sale units have been a big part of why Apple stores have been such easy places to drop loads of cash. [AppleInsider]
Virgin erases Helio and the Ocean 2. But not before we erased the love and care we had back in 2007 for the company. Remember how progressive they were? Were? [Mobile Crunch]
JVC's $200 Blu-ray player does not stream media and does not cost less than the LG bd370 which does. It doesn't even cost less than the PS3, which also, you know, plays games. Do not buy. [JVC]

Their new SP-FT1/FT2 speakers are just 1.2 inches thick, and can be mounted on a wall or set on a table with a built-in stand. The accompanying 20W×4ch amp is nearly just as unobtrusive (.2mm thicker) and supports Dolby Digital/DTS/AAC/Linear PCM formats.

Of course, you'll still need to run wires.

Sadly, these products are exclusively available in Japan for now. The speaker set runs $220 with the amp coming in at $260. [JVC via CrunchGear]

The more-affordable design benefits from lessons learned with the first concept, and new PDP materials and chips were developed to accelerate pixel illumination while maintaining brightness. Of course, the upcoming challenge for 3D (aside from the wacky glasses) is that you'll need a Blu-ray player and movies that support the 3D format.

The 50-incher will be shown next week at Tokyo's CEATEC show—Japan's version of CES. We'll let you know if Panasonic dish up any more details, or if Sony hits back with something new of its own. You might remember that Sony intends to introduce a 3D Bravia TV and PS3 games next year. [Panasonic via Akihabara News]

Those are mild upgrades, I'll give you that. At first glance, the camera sounds suspiciously like the Everio X, but I decided to post anyhow. The camera has 32GB of internal memory and an SD/SDHC slot. Slow motion is possible at 600fps, albeit at a ridiculous resolution of 640x72 (yes, seventy two) pixels. It shoots at 300fps at a slightly less filmstrip-like res but the 120fps mode at 480x270 pixels is anywhere close to acceptable.

The HM400 also has 9 and 5.3MP still modes without interpolation, and captures its 1080p video at the AVCHD format's maximum bitrate of 24mbps. Glass has been upgraded here to use two prisms for optical stabilization. And the camera has new manual controls that put the camera into aperture and shutter priority modes. It goes for $1000 to a buyer who hasn't been seduced by a Flip HD and still needs real zoom and picture quality. [JVC]

• The Coolpix S70 Nikon announced last month is now available. The main draw here in the 3.5" capacitive OLED touchscreen that of course comes with obligatory touch features like tap-to-focus. Besides the touchscreen, it's a pretty standard 12.1MP point-and-shoot with the ability to record 720p video. Now shipping for $370. [OLED Info]



• Dell released two new 24" monitors today, the Ultrasharp U2410 and ST2410.

• JVC's GZ-HM400 Camcorder

It should be noted, all designs require glasses. (More technical background on the types of glasses here.)

Panasonic's 3D Plasma Concept
The Tech: Plasma with Active Shutter (alternating left eye, right eye progressive frames)
As a baseline reference to get our bearings, I took yet another look at Panasonic's 103-inch plasma display that we've seen twice before. My original impressions stand. It's decent—and definitely the best technology of the three that we saw at CEDIA. Why? There's virtually no flicker in the image because of plasma's instantaneous response times/ability to push legitimate high frame rates. Plus, it probably helps that we're talking about a 103-inch display (that has its own trailer). The bigger a 3D display, the better the illusion. But glasses aside, it's not what I'd deem a perfect experience. You see ghosting around some objects. And...OK, I still can't ignore the damned glasses. It creates an inherent distance from the image inducing an unintentionally ephemeral viewing experience.

Sony's LCD Concept
The Tech: 240Hz LCD with Active Shutter (alternating left eye, right eye progressive frames)
Even Panasonic will tell you that 240Hz is the baseline speed needed for an LCD to pull off 3D. But you know what? 240Hz isn't enough. Watching Pixar's Up, the color and sharpness are both great, but there's an absurd level of flicker that's nominally better than on old timey crank projector. And on this normal-sized LCD, it's incredibly obvious when 3D objects break the illusion by reaching the TV's frame. Granted, we're not talking about a final product here, but the specs seem pretty much identical to what consumers can expect to see in the high-end display market next year.

JVC's GD-463D10 LCD
The Tech: Polarized filter (two images are interlaced on the screen, each eye sees half the data, glasses don't need power)
Of the three technologies here, JVC's is the only final product that's actually available now. And it costs $9,153. It's also easily the worst of the three—completely unwatchable, in fact. The interlaced 3D means that the resolution takes a huge hit. But it's worse than just a 1080i picture. Your brain can almost make out these lines. I could say more about the tech, but I honestly couldn't stand to look at the screen for more than 10 seconds at once. Oh, and the kicker? For nine thousand bucks, you still only get two pairs of the cheap, polarized glasses. Sorry kids, Mommy and Daddy are watching TV tonight.

There's no doubt that some home theater enthusiasts will go out and plop down $5k or more on a commercially available 3D display when they enter the TV lines of major manufacturers like Sony and Panasonic in 2010. But I'm hoping, really hoping, that the public can resist the gimmick until the technology is perfected. To me, that means when we don't need to deal with these silly glasses at all. But for whatever it's worth, plasma is definitely looking like the clear front runner in execution. [Image]

• If you're a reeeeeaaallly early adopter, JVC has a new 46" 3D monitor out that will make sure you're ready for the arrival 3D content... assuming whatever 3D standard the industry eventually decides on is compatible with the set. The set's integrated 3D decoder can handle the current industry standard formats of line-by-line and side-by-side image processing. Whether those are the standards in three years is anyone's guess, though.

The set was originally designed for Hollywood studios, and now is available to home installers. While the 3D may be cool, the set's other characteristics won't exactly reel in the home theater enthusiasts. With specs like a 2,000:1 static contrast ratio, it's not like anyone will be ditching their Kuro for this thing. 3D images still require polarized glasses, too.

That said, JVC claims the display offers "flicker-free 3D images," because both left and right eye information is constantly displayed. While I guess it would be cool to have a 3D set, I don't think it's $9,153 (that's the exact price in the pres release, by the way) cool, especially without any content available. If you need to have a 3D set today, though, they're available now to your local home theater installer. [Press Release via Electronista]

Spewing a 10 megapixel, 4,096 x 2,400, 12 to 21-foot image onto your wall, the DLA-RS4000 LCD projector could never live up to its cost, but then again, it manages to produce a bright, 3500-lumen image while still maintaining a 10,000:1 contrast ratio (granted, those specs still might be mutually exclusive, each appearing only during optimal adjustments...but at this price, we're going to give JVC the benefit of the doubt).

So you can watch movies at 4K, assuming you can make a deal with the devil and acquire digital cinema files that hover in the resolution range (good luck, even JVC could only show us a 2K Hellboy clip). Or you could allow your 1080P Blu-rays to be unconverted. Or—and JVC actually endorses this use—you could watch four 1080P signals at once. (4K is 4x the quality of 1080P, after all).

But hey, if you have this much to spend on a home theater projector, no one is questioning your judgment. They've already deemed you crazy.

JVC INTRODUCES DLA-RS4000 HIGH-END 4K
HOME CINEMA PROJECTOR AT CEDIA EXPO 2009
WAYNE, NJ (September 10, 2009) – JVC Visual Systems Division introduces its new DLA-RS4000 Reference Series 4K home cinema projector at CEDIA Expo, September. 10-13 at the Georgia World Conference Center in Atlanta. The system is being showcased in the JVC D-ILA Theater in the Omni Hotel North Tower throughout the duration of the CEDIA Expo. Based on the same projection engine used in advanced simulation systems, it provides the superior imagery as well as installation flexibility required by uncompromising home theater consumers. This system is ISF and THX* certified.
Three newly developed ultra high definition 4K2K D-ILA devices allow the DLA-RS4000 to deliver a 10 megapixel image with a native resolution of 4,096 x 2,400—more than four times the resolution of HD. Up to four screens with full HD or WUXGA resolution images can be displayed simultaneously .
A new optical design provides 3500 ANSI lumens from a Xenon lamp and delivers excellent color rendering. Lamp power can be adjusted in eight steps for the ideal brightness for a variety of home theater settings and screen sizes. In addition, new Wire Grid polarizers in the optical engine that minimize light leakage are combined with new liquid crystal technology and a novel liquid crystal orientation to significantly reduce off-state light, resulting in a 10,000:1 native contrast ratio.

The RSVP4 custom digital video processing unit serves as a signal switching, scaling and processing hub for virtually any video source, including Blu-ray and gaming systems, cable and satellite receivers, and DVD players. The RSVP4 has a special feature enabling certified calibration specialists to calibrate either of two custom gamut memories based on the installation's specific requirements. This enables each system to achieve an accurate color space for the source material being shown. Other features include audio delay compensation, and three separate gamma tables for customization of various image sources and viewing environments. The DLA-RS4000 is shipped complete with a JVC high quality projection zoom lens to maximize performance in almost any home theater setting.

Despite its advanced performance, the 110-pound DLA-RS4000 achieves a 65 percent reduction in size compared to conventional projectors in the same class. Generous horizontal and vertical lens shift capabilities permit flexible projector positioning, and its stackable design allows for applications such as 3D. Ethernet and RS-232C interfaces allow projector installation and adjustment from a PC-based Web browser for multiple units, plus an e-mail function can send out status messages and lamp replacement reminders.

"The DLA-RS4000 4K projector is the ultimate projector for discerning home theater enthusiasts," said Jack Faiman, vice president, Visual Systems Division, JVC U.S.A.. "Not only does it produce amazing images for movies, sports, and video games, but its smaller footprint and incredible flexibility make it the ideal premium home theater projector for custom installations. Plus, despite all its high-end features, its user-friendly interface makes it easy to sit back and enjoy the view."

The DLA-RS-4000 projector has a suggested list price of $175,000 and will be available October 2009 .

And with a 4000:1 contrast ratio along with a 90 percent of Adobe RGB color gamut, the picture should be pretty great, too, fed into 2 HDMI inputs along with a VGA if you'd prefer.

Of course, there's always a catch.

For one, we don't know the resolution beyond that it's "exceptionally high." That could mean 1080P. That could mean 4-bajillion-K. That could mean...you know, it's not defined. Plus, it's $3,000 this November. I'm can't know the precise amount of satisfaction you receive after inviting friends into your office only to turn your monitor on its side so that your guests can pretend to ooh and ahh at your extravagance, but it can't be better than what $3,000 can buy you in the recreational chemical and escort industries. Trust me.

JVC Announces Super Slim & Light Flat Panel Monitor

32-inch LED backlit monitor measures just ¼-inch deep

ATLANTA, September 10, 2009 – JVC today announced a super slim LCD monitor for home theater use that measures a mere ¼-inch (6.4mm) deep across most of the panel and weighs just 12.5 pounds (5.7kg). The new 32-inch class LT-32WX50 will be available in the U.S. in November.

The new monitor's super slim profile is made possible by the use of JVC's edge LED backlighting system.
It offers a 4000:1 contrast ratio and wide color gamut for exceptionally high resolution of both video and still images.

The monitor's shallow depth makes it ideal for consumers who want the design flexibility such a slim design allows. It also lends itself to a variety of commercial applications. Another attribute is that fewer material resources are used in making the monitor, reducing the product's environmental impact.

Key features of the LT-32WX50 are:
• Taking advantage of JVC's unique LCD panel edged-light LED backlight system, the LT-32WX50 is stunningly thin - just 1/4-inch* (6.4mm) deep at its thinnest point, with a slim module inset along the bottom third that houses the monitor's inputs and other connections;
• Six picture settings: home, retail, movie, monitor, SLR photo mode, game;
• It covers a wide color gamut – 100 percent of sRGB and 90 percent of Adobe RGB;
• It uses approximately 50 percent fewer material resources and eliminates the use of mercury;
• JVC's high definition picture engine is designed for reproducing both video and still images;
• It includes two HDMI connections along with analog RGB (D-Dub, 15-pin); the display can be controlled externally via RS-232C;

* When measured from the front surface of LCD panel to the rear surface of the cabinet.
The JVC LT-32WX50 will be available in November for less than $3,000.00.

Sony was supposed to win this. The company made magnetic tape out of like paper and mud back in the 1940s, turned out a "pocketable" transistor radio in the 1950s, and invented the "portable" television by 1960. They had their first video tape recorder by 1963. They weren't the only ones, but they were among the first and best.

The so-called VTR business had a rocky start. The things were hulking bastards, with huge price tags and poor recording capability.

A company called Ampex put out the first "home entertainment" VTR in 1963, only it cost $30,000 in the Neiman Marcus Christmas catalog, and was nicknamed Grant's Tomb because the product manager who thought it up was going to be shoved inside by the company's accountants. (He would have fit, too, the thing was so big.) Sony comes along in the middle of that decade and puts out a $1,200 "portable" VTR that came with a leatherette case and its own TV. It still weighed 65 pounds.

The worst part about these 1960s VTRs was that they were basically reel-to-reel—you had to thread your own 1-inch videotape through spools and stuff, and by the end of the decade, a one-hour spool of tape was like 8 inches in diameter. Can you imagine your TiVo needing 180 spools of videotape to get the job done?

As Sony toiled on the videotape problem, Matsushita—who we now call Panasonic—and its independent subsidiary JVC weren't really standing out in the VTR business. Let's say this: Nobody would have guessed they'd be able to overthrow Sony and kick mecha ass within the decade.

However, these guys were among the biggest manufacturers, dwarfing Sony many times over. Matsushita, known for efficiency, not innovation, tended to focus on big boring appliances—TVs, refrigerators, air conditioners—with a smaller team, branded Technics, devoted to dominating the hi-fi realm. JVC was all about TVs and audio gear, and had decent video know-how.

It was Sony who solved the reel-to-reel problem with—ta daaa!—a video cassette. It was called U-Matic, and at 3/4" thick, it was smaller than the earlier formats, but still a bit of a chunkster. Since video was a bit of a Wild West, Sony felt like it needed partners to firmly establish a format, and to avoid a format war. It asked Matsushita and JVC, who said "yes" as long as Sony adopted some changes. They key here: The partnership included a deal where everybody shared all the patents. Turns out, probably not the smartest move by Sony.

Sony was right to form a posse, though. Every single electronics maker in Japan, Europe and America was trying to build a video recorder. Some American firms were obsessed with lasers (though ironically it would later be the Dutch and Japanese firms who actually put lasers to good use); other American firms were jazzed about microfilm...for video. None of them had success. Before we get on with the story, here's a list of totally failed video players and recorders:

• Matsushita VX-100 and VX-2000
• Matsushita AutoVision
• Toshiba/Sanyo V-Cord
• Ampex InstaVision
• MCA DiscoVision/Magnavox Magnavision
• CBS Electronic Video Recording
• RCA HoloTape
• Sears/Cartridge Television Cartrivision

See what I mean? A friggin' mess it was.

Part of the problem was the message. Nobody knew what the hell this was all about. Sony wasn't just a pioneer in the technology, they thought hard about how to explain why you totally desperately want something bad. At one point, Sony hired Bela Lugosi to dress up one last time as Dracula, and explain that, since he worked nights, he needed to catch up on primetime shows when he got home. Get it? Vampires—they're out killing people when Barney Miller is playing! It was a good bit, and there were a lot more like it. Little by little, the public caught on to what VCRs were for.

Anyway, U-Matic, launched in 1971, wasn't a runaway success, either, but it was the bestselling video recorder to date, and the first successful VCR. In the realm of pro video, it was hot. Sony cashed in by steering from the home market to the businesses but JVC, who kept trying to pitch it for home use, got hosed. Like villains in some Shakespearean play, Matsushita and JVC kinda lurked in the background, planning for the next round when they might one-up that little charmer, Sony. The name of their plot? Video Home System, which you and I call VHS.

Sony was naive. Like, crazy naive. In 1974, it asked Matsushita and JVC to partner up again, this time on a fully baked format called Betamax. They weren't asking for intellectual collaboration, just a deal to make and sell the things. It was a nice system, with really small tapes, but the problem was, the tapes only recorded for an hour. Sony was like, "That's not a problem," but everyone else was like, "Yes, it is." The would-be partners dragged their heels suspiciously, not signing any deals. Sony kinda thought that was weird, but went ahead and launched the one-hour Betamax box in 1975.

Big mistake.

Not long after Sony went into wide release with the one-hour Betamax, JVC pulled a two-hour VHS out of its butt. And in time for Christmas 1976 no less. Sony had another flash of naivete when it pressed on with the one-hour system for a while, even though it had a two-hour system in the works. In that gap, JVC and its big poppa Matsushita scored sales and recognition.

Some people say Betamax was "better" but that depends on many factors, and could very well be an urban myth. The technologies were so close Sony's own chairman called VHS a copy of Betamax. What may have looked good in one system with certain settings might not look as good on another with different settings. And by some accounts, Betamax's more moving parts meant they were more expensive to manufacture and more costly to maintain and repair. It's not an open-and-shut case of quantity vs. quality. Either way you look at it, there are compromises.

By this point, it wasn't just some anything-goes contest with a million formats. By 1976, all those above had died or were dying. In Japan, there were just two choices. The Japanese government told everyone to sort it out. Hitachi, Mitsubishi and Sharp joined Team VHS, but didn't really move forward.

In February 1977, Sony grabbed Toshiba and Sanyo, and then signed the American powerhouse brand Zenith up for an order of Sony-made Betamaxes with the Zenith name on them. Was it going to happen for Betamax after all? Seemed like they'd finally drawn at least a few good cards from the deck.

Sony might not have been totally screwed at that moment, but there were two American powerhouses, and the other one, RCA, was undecided. Ironically, the fate of the Japanese VCR industry relied on how well it could handle the most American of sports: Football. In other words, now that both players could manage two hours of recording time, what RCA wanted was enough recording time to capture a game—three hours would do.

What transpired next is unclear. Even though, at the time, both technologies were limited to two-hour capacity, Matsushita pledged to make RCA tape machines that could record for four hours.

Was this a lie? Was it vaporware? Whatever the deal, JVC engineers pulled off a four-hour capacity six weeks later, and RCA agreed to buy 55,000 machines that year, and up to a million more in the next three years. Better yet, RCA's SelectaVision VHS decks would cost $300 less than the two-hour Betamaxes, at $1000 a pop.

Although Betamax hung on for a bit longer, that, boys and girls, was the end of the competition. In 1979, Sony market share tilted downward, and by 1980, the jig was up for those poor bastards.

Note: I recognize that there are other issues that might have come into play here, including Universal's lawsuit of Sony, which lead to today's Supreme Court definition of fair-use copyright law, and the fact that some studios, including Warner, began squeezing movies onto videotape early, with varying degrees of success. However, I contend that none of that changed the outcome—the war above was fought between Sony and Matsushita, and Matsushita won.

SOURCES:
Fast Forward: Hollywood, The Japanese, and the VCR Wars - James Lardner (Special thanks to you, Jim, for chatting me through some of this)
Sony - John Nathan
The History of Television - Albert Abramson
Sony History - Sony Global Website
Made in Japan - Akio Morita
Quest for Prosperity - Konosuke Matsushita
[PDF] Case Report on Betamax - Verardi et al
"Why VHS was better than Betamax" - Guardian UK - Jack Schofield

Gizmodo '79 is a week-long celebration of gadgets and geekdom 30 years ago, as the analog age gave way to the digital, and most of our favorite toys were just being born.

Though I see hints of a protruding buttocks, as is the main issue with the GD-32X1, the set is admirably wispy. And aside from its svelteness and light source, the 1080p TV boasts a few notable features—namely, its 100Hz refresh rate, 4000:1 contrast ratio and apparent support for some kind of direct digital media playback, as evidenced by its built-in SD slot and USB ports. Since it was shown at a British event, pricing and availability are UK-only, but a helpful indicator: £1900 (about $3000) is the retail target, and it's landing in October or November. [TechRadar]

That figure is derived from a panel measurement above its lumpy rear, where the bulk of the TV's hardware and ports are located. That said, the TV is designed such that this semi-companion-box is narrower than the screen's bezel, so that from most angles the TV does look as thin as JVC says it is. Their weigh claim, which probably isn't fudged, is impressive as well, at 5.7kg, or about 13 pounds.

Sadly, this is intended as a commercial display product, and there's no indication of when—or if—it'll even make its way beyond Japan's borders, or what'll it'll cost. [Akihabara]

That expanded color space is core to their pitch, and more accurate color reproduction is obviously a good thing, especially when editing photos; what isn't clear, though, is why "imaging professionals" would want to use a 1080p 42-inch HDTV as their primary display, rather than a desk-appropriate monitor with a higher resolution? (Note: Some readers—"digital imaging professionals," even—have explained how such a display could be useful for displaying images to customers, or as a secondary review display. Fair!)

In any case, it's available now for $2,400. Full release below. [JVC]

JVC LAUNCHES NEW FULL HD LCD MONITOR THAT TARGETS DIGITAL SLR USERS

With wider color space, 42-inch class super slim, lightweight Full HD monitor faithfully reproduces the colors, detail and texture of high resolution still photos made by digital SLR cameras.

WAYNE, NJ, May 26, 2009 – Establishing a new category in flat panel TV design, JVC today announced the availability of a super slim LCD TV monitor that features a color space that is wider than a typical HDTV's.

The new JVC Xiview LT-42WX70 is a 42-inch class (42.02 inches diagonal) 120Hz 1080p LCD TV monitor that targets digital imaging professionals and enthusiasts using high-end digital SLR cameras, allowing them for the first time to see the subtle colors, details and textures of their images faithfully reproduced.

The monitor features expanded color space capacity encompassing 100 percent of HDTV broadcasting's (sRGB.904) color space and a coverage rate of 96 percent for Adobe RGB - a color space for still photographs taken on high-definition digital SLR cameras - to provide accurate reproduction of both video and still photographs. The LT-42WX70 also features 52 picture-quality adjustment properties for tweaking both still and video images source-by-source to the exact colors and tones the user prefers. In addition, JVC's GENESSA Picture Engine produces video images without blur, color bleed or noise for clear images with smooth movement.

In addition to its advanced display technology, the LT-42WX70 offers JVC's groundbreaking design. The super slim monitor measures just 1-5/8 inches deep and is supported by an elegant, curved pedestal-style stand and the rear of the monitor is finished in metallic silver without any visible vents or assembly screws, making it ideal for settings where the rear of the set is visible.

Flexible High Technology from JVC
Depending on the source signal – video or stills – the user selects a color mode from among Wide (the TV's color space), Normal (ITU-R BT.709; HDTV standards), x.v.Color (xvYCC extended gamut), sRGB (same primaries as HDTV) and Adobe RGB. sRGB and Adobe RGB color spaces are exclusive for viewing digital still images. Digital photos taken using the Adobe RGB colors space and displayed on the LT-42WX70 in the Adobe RGB mode will be reproduced with colors faithful to the original.

The monitor encompasses 100 percent of the sRGB (which is equivalent to HDTV for video signals) color space and a coverage rate of 96 percent for Adobe RGB, allowing the LT-42WX70 to fully reproduce the deeper reds and bluish greens that are a characteristic of Adobe RGB color.

To fine-tune the color for different sources, the LT-42WX70 features 52 on-screen image-quality adjustment properties that allow fine-tuning of colors, tint, gamma, and more, which can be memorized per source for future use. For example, individual color management settings of red, yellow, green, cyan tints and colors, as well as skin tone tint can be adjusted on-screen using the supplied remote controller.

JVC's Individual Gamma Adjust System calibrates each panel's grayscale tones to gamma 2.2 to ensure displaying consistent and faithful colors regardless of the set or manufactured lot. This extra effort is put in because color consistency between the source and display are essential when reproducing photos that are taken on digital SLR cameras or video from different sources.

Breaking new ground in performance for both moving as well as still images
To further ensure the best possible video quality, the set uses JVC's new high-quality GENESSA Picture Engine with 12-bit (x RGB = 36-bit) for truly accurate and natural colors. The Real Bit Driver processes in 12-bit, and so up-converts 8-bit HD broadcasting and DVD signals or 10-bit Blu-ray signals into 12-bit Deep Color signals, regardless of the quality of the source signal, to achieve videos with smoother gradation.

To compensate for color bleed and color drift caused by the gap in the source color format and the LCD's color space, the Chromaticity Point Conversion Circuit in the engine matches the colors so they are deep, natural and accurate.

120HzClear Motion Drive III (100Hz for PAL video signals) in the engine reduces blurring on LCD TV, helping to make images with rapid movement clearer and smoother using a high-precision interpolation algorithm. The 3D real time, motion-estimated Hadamard noise reduction is applied to eliminate noise while suppressing blur. Picture signal frequencies are also divided into 16 sections and noise reduction performed per section to produce images without noise while maintaining the realism and sharpness of the original picture.

Slim and lightweight at just 1-5/8 inches deep, the LT-42WX70 features a stylish black leather-like texture on its slim bezel that also helps to reduce glare. The flat rear panel is completely finished in metallic silver without any visible assembly screws or vents, providing a clean, attractive design and allowing for greater placement flexibility. To support the monitor, the supplied stand has a center pillar that curves toward the front of the panel. The stand features a three-step height adjustment to further broaden installation possibilities and the TV can be easily removed from the stand for hanging from a ceiling or wall. In addition, the monitor comes equipped with a slim detachable stereo speaker module that runs along the bottom of the panel. If an external sound source is to be used, the speaker module can be removed, giving the monitor an even sleeker, cleaner appearance.

An intuitive graphical on-screen display is easy to use via the included remote, and touch-panel operation makes essential operations available at the front panel. The remote can control other devices connected to the display via HDMI CEC.

The ENERGY STAR 3.0 compliant LT-42WX70 features an array of connectors for video and still image viewing, including three HDMI CEC terminals, D-Sub 15pin with component video, and an audio input jack. This allows the user to easily perform various operations such as checking images by connecting directly to an SLR camera compatible with HDMI or component connector, editing stills on the large 42-inch screen by connecting it to a PC via a D-sub 15-pin, or even do a round of on-screen checks in accurate colors prior to outputting images to a high-resolution digital photo printer and thus save on expenses.

The monitor measures 39 x 28-1/4 x 1-5/8 inches (W x H x D) and weighs 26.4 pounds. Mounted on its stand, the total weight is 41.8 pounds and depth is 6-3/4 inches.

The JVC LT-42WX70 is available now and is priced at $2,399.95.

JVC has also created a prototype of their new 4K handheld camcorders, which shoot in 4240p and was made to be more of a broadcasting camera. Although release dates and prices are yet to be announced, they are rumored to cost under $200k, which is not that surprising considering that this cutting-edge technology is aimed more at professionals. [Akihabara New via CrunchGear]

The 600fps slow-mo shoots at a tiny 640x72 resolution—this isn't a surprise given the resolution of the Casio's awesome slow-mo cams—but you can bump up the resolution by bumping the frame rate down to 300 (480x112) or 120 (480x272). It uses a Konica Minolta lens with 5x optical zoom, with SDHC as for storage.

The Everio X supports 1920x1080 AVCHD, and like I said, can manage 5.3-megapixel stills while in video mode. It uploads to Youtube with one touch and has a new optical image stablization apparently so advanced, the presenter couldn't really tell us how it worked. It also includes a variety of scene modes, including Food mode, Document mode and the extremely creepy Sleeping Face mode (wtf?!).

JVC says this camera is for the early adopter market who want high-end features. As such, the camera is roughly 2.5" x 6" x 1.5", and weighs about a half a pound. It doesn't feel like the lightest, or the smallest camera, but for what it does, its a pretty small package. The jog dial on the back is able to run through most of the main shooting modes, which saves time and effort.

Build quality is pretty solid, and has a nice textured feel on the outsize so it sticks in your hand. The laser touch capacitive strip on the side of the LCD offers another way to zoom and record, though I still prefer the feel of the hard buttons. The JVC Everio X should be out some time in May or June and will cost $1000.

New Nine-Megapixel JVC Everio X Hybrid Camera
Simultaneously Shoots Full HD Video and Digital Stills

Small, light all-in-one camera also shoots slow-motion video and high-speed stills.

LAS VEGAS, March 3, 2009 – JVC today announced a new dual-use camera that shoots high definition video and high resolution digital still images. The new hybrid Everio GZ-X900, or Everio X, is a small, light, all-in-one camera that offers the powerful shooting combination of Full HD video and nine -megapixel still photos, plus creative shooting functions such as slow motion video and high speed "motor drive" still photography.

Highlights of the new JVC Everio X include:
The camera is small enough to slip into a shirt pocket and at just 0.66 pounds is one of the lightest cameras that can shoot 1920 x 1080 Full HD AVCHD video;
Shoots nine-megapixel (no interpolation) digital stills and Full HD video with 1000 TV lines of horizontal resolution – close to the theoretical maximum horizontal resolution for 1920 x 1080 high definition video for no-compromise images;
10x slow motion shooting plays back 2.4 seconds of recorded video over 24 seconds;
Up to six nine-megapixel stills can be shot at 15 images per second – faster than what digital SLRs can achieve;
Simultaneous five-megapixel digital still shooting while recording Full HD video – photos can be shot at shutter speeds as fast as 1/4000 second without interrupting video recording;
Records video and stills to SDHC memory cards.

The new Everio X was designed for the consumer who wants to shoot high quality digital stills and HD video, but wants the convenience of a single camera. While most conventional video camcorders shoot digital stills and most digital still cameras shoot video, the secondary capabilities of these cameras don't offer sufficient quality for many users. Everio X solves that dilemma by providing high quality stills and top quality HD video.

Unique Design
The design of Everio X is a distinct departure from other camcorders, including other Everio models. About the size of a chunky smart phone, Everio X is a slab-sided rectangle without the handgrip, protrusions or indentations found on most camcorders. The design allows plenty of flexibility in how the camera is held – from below, above, or whatever suits the situation and the user's preference. There are top-mounted zoom and record buttons, and a second set next to the LCD screen for additional shooting flexibility. The camera is black with silver accents, with the right side featuring a textured carbon fiber-like finish to provide a secure grip and resist smudges.

Small enough to easily slip into a pocket or purse, Everio X weighs just 0.66 pounds (including the internal battery and a memory card) and measures 2.6 inches tall, 4.88 inches long and just 1.46 inches wide.

1000 TV Lines of Full HD and Nine-Megapixel Stills
A 10.3-megapixel CMOS sensor is at the heart of the camera's superior image quality. The high quality nine-megapixel digital still photos the camera shoots correlate directly to the un-interpolated performance of this 1/2.33-inch CMOS sensor. For the first time ever, it is also the source of 1920 x 1080/60i Full HD AVCHD format video. The camera records at a stunning 1000 TV lines of horizontal resolution – close to the theoretical maximum of 1920 x 1080 Full HD.

JVC's new proprietary optical image stabilization (OIS) technology applies camera shake compensation optically at the Everio X lens entrance to ensure effectiveness throughout the zoom range and allow high quality shooting without a tripod. Everio X also uses a new KONICA MINOLTA HD LENS with a 5X optical zoom.

Further contributing to the camera's high image quality is JVC's HD Gigabrid Premium image processing engine. In addition, face detection technology assures accurate focus and exposure, and HDMI™ V.1.3 with x.v.Color™ provides increased color accuracy when connected to HDTV displays.

10x Slow Motion Shooting, High-Speed Motor Drive Stills
Slow motion video recording is a key Everio X feature. The camera's high-speed recording function shoots ultra-slow motion video. Any one of three speeds – 120 frames per second (fps), 300fps and 600fps – can be selected; the faster the recording speed, the slower the playback motion. With this function, approximately four-second bursts of video are recorded that are then played back over a period of up to 24 seconds, a maximum of 10 times longer than normal speed.

Recording speed
Image size
Recording time
Playback time

600fps
640 x 72 pixels
Approx. 2.4 sec.
Approx. 24 sec. (10x)

300fps
480 x 116 pixels
Approx. 4 sec.
Approx. 20 sec. (5x)

120fps
480 x 270 pixels
Approx. 8 sec.
Approx. 16 sec. (2x)

In the still mode, Everio X offers high-speed shooting, similar to the motor drive function found in some mechanical still cameras. As many as six nine-megapixel photos can be shot at up to 15 images per second, a speed that surpasses what's offered by typical nine-megapixel DSLR cameras. Everio X also allows shooting of 1920 x 1080/60i Full HD video and fully 5.3 megapixel stills at the same time - a unique advantage of this all-in-one camera. While recording video, photos can be shot at shutter speeds as fast as 1/4000 second without interrupting video recording.

5 Mega simultaneous still mode
Shooting speed/
Maximum limit

High speed
60 images / sec.
11 images

Medium speed
11 images / sec.
11 images

Low speed
4 images / sec.
No limit

Global Sharing
With the worldwide explosion of interest in video sharing, Everio X offers easy solutions for distribution. A One Touch Export function provided by bundled software for Windows® makes it easy to export videos into iTunes® for playback on an iPod® or iPhone®. And the One Touch Upload function, when used with the included software for Windows, simplifies uploading videos to YouTube™.

The DVD Creation function makes it easy to transfer video to a disc for archiving or sharing. Create a disc directly from the camera using the JVC Everio CU-VD50 burner/player or CU-VD3 burner SHARE STATION. Other direct storage solutions include third party external hard disk drives from LaCie and Seagate, and an external Blu-ray Disc Burner from LaCie.

The Everio GZ-X900 will be available in June at a nationally advertised value of $999.95.