對於對比的解說的好清楚呀,跟一般的認知真的是不太一樣。
看了您新發表的亮度方面文章而尋到此篇，好專業，受益匪淺，
Barco ANSI對比度和HDR在電影中的重要性https://www.cinionic.com/news/cinema-projector-ANSI-contrast-whitepaper白皮書原文下載https://drive.google.com/file/d/1TRJ1czBmYcxJ7BRWyVLsXIKBpFJAwrq7/view?usp=drivesdk節錄This confirms that the sequential contrast is not a very representative way to assess perceived contrast.As mentioned above, a projector’s ANSI contrast spec can be more representative of the actualperceived contrast, since it comes closest to how the system will be used in reality. A projectorwith a good sequential contrast can look very bad in an average room. A projector with a goodANSI contrast will keep its image quality in most setups; although it is important to rememberthat a badly designed room (high ambient light, many reflections,…) will ruin any experience.projectors exceeding 5000:1; these numbers are a factor 5-10 lower for ANSI contrast. A projector with an ANSI contrast of 1000:1 is an exceptionally good projector.It is also important to understand that the impact of the internal projector technology also causesa decorrelation between sequential and ANSI contrast. A projector with a high sequential contrastcan have a very low ANSI contrast, due to the technological choices in the projector architecture.A projector with a mainstream sequential contrast can outperform a premium model whencomparing the ANSI contrast. This can be seen typically e.g. when comparing DLP-technology toLCoS. The former holds its ANSI contrast better where for LCoS it has been measured to be afactor 50 or more below the sequential contrast. ConclusionWith the interest for HDR growing in cinema, so has the importance of a properly specifiedcontrast ratio. When evaluating and interpreting “the contrast ratio” of a cinema projector, it isimportant to know that both sequential and ANSI contrast exist. The former is the easiest to measure (on site) and therefore the most frequently-used by manufacturers and integrators.
However, the ANSI contrast is a much more representative metric. It takes careful considerationof the measurement conditions, but shows a better correlation with the perceived contrast by the movie-going audience. In its high contrast models, Barco has started including the ANSI contrast ratio as a specification.翻譯:這證實了順序對比不是評估感知對比度的非常有代表性的方式。如上所述，投影機的ANSI對比度規格可以更能代表實際的感知對比度，因為它最接近系統在現實中的使用方式。具有良好連續對比度的投影儀在普通房間中看起來非常糟糕。具有良好ANSI對比度的投影儀將在大多數設置中保持其圖像質量;雖然重要的是要記住設計糟糕的房間（高環境光，許多反射......）會毀掉任何經驗。投影儀超過5000：1;這些數字是ANSI對比度的5-10倍。 ANSI對比度為1000：1的投影機是一台非常好的投影機。了解內部投影機技術的影響也會導致順序和ANSI對比度之間的去相關，這一點也很重要。由於投影儀架構中的技術選擇，具有高順序對比度的投影儀可以具有非常低的ANSI對比度。在比較ANSI對比度時，具有主流順序對比度的投影儀可以勝過高級模型。這通常可以例如看到，例如將DLP技術與LCoS進行比較時。前者保持其ANSI對比度更好，對於LCoS，它被測量為比序列對比度低50或更多的因子。結論隨著人們對HDR在電影院中成長的興趣，正確指定對比度的重要性也是如此。在評估和解釋電影放映機的“對比度”時，重要的是要知道順序和ANSI對比度都存在。前者是最容易測量的（現場），因此是製造商和集成商最常用的。
但是，ANSI對比度是一個更具代表性的指標。它需要仔細考慮測量條件，但與電影觀眾的感知對比度有更好的相關性。在高對比度模型中，巴可已開始將ANSI對比度作為規格。#以上為Barco論點及個人喜好
#為免斷章取義已上傳原文
#Barco已開始將ANSI對比度作為投影機重要規格
#翻譯是用咕狗翻譯語義自行解讀
現實使用中，我們才能真正體會，對投射效果起到決定性作用的還是外界光的強弱。投影機ANSI對比與亮度越高，受到環境光的影響越小，是克服環境光最有力的武器，但還是建議正在使用各種家用投影機的朋友，儘量在一個較為昏暗的環境下觀看投影，這樣大家才能更好的體驗家用投影機所帶來的大畫面的感受。