Been watching this PJ online for past weeks.
Seem solid with DTM and Dolby Vison 
Now tons of solid reviews online.
will be going for local demo soon hope it’s a good one there for upgrade
Massive short throw lens
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Wow crowd funding project. Looks promising. The price looks ok too!
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The max flagship just shot up by 1k from usd3999 to usd 4999 haha as u typed lol.
Btw pro 2 at sgd 3999 is a steal if u ask me . 
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Think so too.
Mai tu liao!
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Saw this clean setup💪
Lifestyle PJ with Netflix , best gaming , 3D and Movies 
thus meeting all my above requirements in living hall.
Just realized the VisionMaster Max model is capable of 850+ nits at USD$5k. And supports dv. Well done!
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Part of the trade off , without lens shift .
Can place it higher and use optical lensshift to square it .
Likely digital lens shift is required which looses resolution and also some lag on the video pending how much digital is use .
Pros and cons .
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Recently TSR shootout Valerion didn’t perform so well. They tried to install a new beta firmware and it seem to cause a lot of problems.
But I’ve been following it very closely since Dec 2024.
Very impressive EBL and DTM.
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I like the reviews by this guy. Does a lot of work to bring the direct side by side comparisons.
You can see how Valerion is compares against Epson, Sony and JVC.
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I saved these screen caps from that video previously for my own references and comparison.
I think it illustrates some very interesting principles of projector performance.
First, that we have native FOFO contrast to ranging from 30k (JVC) to 15K (Sony) to 6k (Epson) to 3k (DLP - Valerion)
These are huge ranges. 10x from the highest to the lowest. What does it mean in real images? Actually, it could be much less than you might think.
To complete the spec info, we need to see the other end of the contrast range - ANSI at 50%, or the ADL data that is becoming more accessible with growing understanding of what I’m describing here.
For ANSI 50% contrast, the NZ500 is at ~500. Let’s call the Sony models at 400 based on the average of their 4K laser generations. This has always been a strong area for Sony.
Epsons I think are in the mid 300-400, call it 350.
The Valerion DLP is also in this 300-400 range.
So from a huge 10x-5x difference in FOFO contrast to pretty much about equal in Ansi contrast. This is getting interesting. What does it actually mean in real images?
Following are my observations from the Hookup video. I only took NZ500 vs valerion screen shots as it was the most obvious difference. But I believe it is sufficient to illustrate the mechanisms.
Start with a less contrasty image, where it is mainly mid tones, little extreme contrast between very bright and very dark areas. The look is surprisingly similar, as it should be.
Next, an image with more bright, colorful areas. This starts to get interesting. There is still probably not more than a 1000 difference between the brightest and darkest part of the image, well within the capabilities of both.
You might start thinking the Valerion image actually looks more punchy and colorful.
That’s right, I believe that is a combination of DTM differences (brighter average level) and also higher color saturation, and some gamma manipulation. All part of its EBL implementation.
To me, this has shown the potential of EBL, using the PJ strong mixed contrast capability of DLP, to achieve very good looking images in the typical mid to brighter scenes.
A couple more examples where to a casual viewer, the Valerion image might be preferred, slight color differences aside.
Even in the slightly darker, dimmer scenes, the combination of laser dimming and EBL, which allows the valerion to hit ~15k dynamic FOFO contrast, shows the incredible potential as it keeps right up with the NZ500 in these scenes.
Imo there are 2 areas where the native contrast shows it’s limitations.
First, in lower mid scenes, but with a bright highlight, that stops the laser dimming. This raises the black floor close to it’s native, and you can see it obviously on 2 areas. First the black letterbox bars level raise up significantly without laser dimming.
Second, there is now a grey haze especially around the bottom right area of the image, which is typical of DLP images with limited FOFO contrast. Consider this a torture scene that reveals the fundamental hardware limitations and even EBL + laser dimming wizardry cannot overcome.
Both these scenes have a flame with peak highlights that reduced the laser dimming and causing the black bars to turn really obviously gray and hazy.
The next type of scenes are the truly dim dark scenes, where majority of the image depends on the projector black floor. This one can only manage one’s expectations, and where JVC FOFO contrast is king.
Even then, Valerion EBL, laser dimming and DTM does an incredible job in mapping the scene to its capability. There is little gray haze, which is the main challenge for these type of scenes.
In fact the brighter average levels with DTM may make this scene more visible and preferred to a lot of viewers, than very very dark but not crushed scenes that are basically not visible with any ambient light in the room.
If one nit picks, these scenes will also show the native black levels in the black letterbox bars.
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Great sale now 
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13mins timestamp the Pros shared the experience by the quality of the valerian PJ hdr and colours
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Naise review. Got a few more comparisons that highlights the difference that EBL makes.
In the earlier comparisons with NZ500, the valerion did so well that the images look more similar than different.
Here you can really tell what a 3000 contrast DLP looks like in terms of black and dim scenes performance.
This is on the bleeding edge of 
in this hobby. Once you see it you probably cannot go back, it will always bug you.
Just for reference, the bright scenes look similar as there is little laser dimming, and little very dark black areas.
Coming back to the gray haze in the dark scenes. In a dark scene, that is the native FOFO contrast of the projector. Or more like the 1%, 2% ADL numbers which are starting to be more available.
If the projector is calibrated to 100 nits SDR, a 3000 native contrast will yield a black level of 100/3000 = 0.033 nits.
With the dynamic laser dimming, EBL achieve a contrast of 15000. A 5x improvement, dropping the black floor to 0.0067 nits.
That is what we are seeing in those dim scenes. Anything below 0.01 nits is frankly very good by any measure.
But, what about the JVC? A NZ500 calibrated to 100 nits has a native of 30k. So black floor is 10x lower, at 0.003.
Even before laser dimming, it is already half of the EBL black of 0.0067.
JVC also has laser dimming, and that’s where you get the real measured contrasts of 200-300k numbers.
For this example, let’s call it the same 5x multiple with laser dimming, giving 150k.
The black floor drops to 0.0006.
Without serious light control in a dedicated space, you cannot really achieve anything below 0.001nits. In a light controlled environment, this 0.0006 black level is still perceptible, but it starts to become dynamic, where your eyes takes a split second to adjust from a bright area to the darker area.
What I’m trying to say it that it is still very visible, and still contributes to performance. It has not reached the diminishing return like THD where you can’t actually hear the difference.
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@Wechnivag bro deep poison 