HISENSE PX1-PRO TRICHROMA LASER CINEMA SPECS
|Rated Brightness||2200 ANSI lumens|
|Native Resolution||3840 by 2160 using 1920 by 1080 DLP chip with XPR fast-switch pixel shifting|
|Maximum Resolution||3840 by 2160 60Hz|
|Inputs and Interfaces||Bluetooth, Ethernet, USB 2.0, USB 3.0, Wi-Fi, Wi-Fi Direct, HDMI (eARC), HDMI 2.1 (HDCP 2.2)|
|Dimensions (HWD)||6.3 by 20.5 by 12.8|
Hisense only refers to two of its products as “movie projectors” rather than “laser TVs,” and the (which retails for $3,999.99) is one of those types. However, it has just as much claim to being a smart TV as the other models do, as it comes equipped with an inbuilt TV tuner and fully integrated Android TV 10. It does not come with a screen, therefore it is an obvious choice if you already own a screen or if you prefer a different size than the options that come packed with the product. The fact that it has a significantly broader color gamut than what is typically delivered by projectors is the primary reason why it is worthwhile to take into consideration. And the eye-catching hue is just one feature of its top-tier image quality for the price, which is one of the contributing factors that helped it become our new pick for Editor’s Choice in its category.
Lasers in Red, Green, and Blue Light
When compared to other 4K DLP projectors, the is considered to be “cheap,” as it routinely sells for a price that is substantially lower than its MSRP. It uses a single DLP chip that takes advantage of TI’s XPR fast-switch pixel shifting in the same way that the majority of its rivals do. This allows it to display a complete 3,840 by 2,160 pixels on the screen. It does not utilize a laser-phosphor light source, in contrast to the vast majority of home theater projectors, including the, which is our current top pick for an entry-level ultra-short-throw (UST) home theater projector. Instead, it is constructed around Hisense’s TriChroma laser engine, which generates its fundamental colors by cycling among red, green, and blue lasers in the order listed.
When compared to laser-phosphor light sources, the TriChroma light engine possesses two significant benefits. The first and most significant benefit is that it offers a more expansive color spectrum. Hisense asserts that their products cover 107% of the color gamut stipulated by the BT.2020 (also known as the Rec.2020 standard), which is the defined target for 4K UHD projectors and televisions. That is a much wider range of colors than the Rec.709 standard that was defined for HD TVs, to which many 4K projectors are still limited. It is even wider than the DCI-P3 color gamut, which is an intermediate step between the two and is widely used in UHD TVs and projectors. Many 4K projectors are still limited to the Rec.709 standard. When matched to video sources that take advantage of it, the difference can be seen in both a closer match to real-world colors than what most displays are capable of, as well as a large range of additional colors that are best described as being richer and more saturated than what most displays are able to show.
The second benefit is that rainbow artifacts are eliminated. Rainbow artifacts are brief flashes of red, green, and blue that are characteristic of single-chip projectors. This is because single-chip projectors provide primary colors to the screen in a sequential manner as opposed to all at once. Because a color wheel cannot cycle through the sequence as quickly as the TriChroma lasers can, in order to notice rainbow artifacts, you will need to have a significantly heightened level of sensitivity. In my tests, I did see several, but that’s probably because I can spot anomalies more easily than most people. In a broader sense, the speedier sequencing means that fewer people will see any, and even those who are adept at spotting them will typically do so less frequently as a result. (More on this to come.)
Go Big! Compatible with Displays up to a Size of 130 Inches
The which weighs 20.3 pounds and dimensions 6.3 by 20.5 by 12.8 inches (HWD), has an installation process that is, for the most part, standard for a projector that has fully integrated Android TV 10. Place it where you want it, then connect it to your network using either Wi-Fi or Ethernet. After that, you can attach any other sources you like. The panel that faces the screen has a coax connector for the built-in TV tuner as well as two HDMI 2.1 connectors for connecting other devices. After connecting a cable for broadcast or cable TV, the projector will automatically search for channels that are available to be seen. It is important to note that, as is the case with the majority of versions of Android TV, there is no Netflix app. Despite this, it is still possible to watch Netflix by either connecting to cable TV or another comparable service that provides it, or by plugging a streaming dongle of your choice into one of the HDMI ports.
The ultra short throw is rated as suited for an image that is 90 to 130 inches, according to Hisense, and it enables powered focus that can be controlled from the remote in exquisitely fine stages. This feature makes it easy to achieve crisp focus over the entire screen. It didn’t resolve detail quite as well as the more expensive , which is our top choice for 4K standard-throw home theater projectors, but it did an obviously better job than most DLP 4K projectors we’ve tested. I noticed this when I was standing closer to the screen than anyone would be sitting. Regarding this criterion, the is without a doubt one of the greatest DLP models that we have seen, if not the best overall.
The 100-inch Epson SilverFlex 100″ Ambient Light Rejection Mega Screen, which we use for our formal tests with UST TV replacements that don’t come with bundled screens, has a gain of 0.6, which indicates that the image brightness of a 2,200-lumen projector will be equivalent to that of a 1,320-lumen projector when using a white screen with a gain of 1.0. This is the screen that we use for our formal tests with UST TV replacements However, a picture that looks better than the one you would get from a white screen is delivered by a screen with ambient light rejection (ALR), darker blacks, and a boost in perceived contrast from a low-gain screen. This is the reason why a screen with UST ALR is a near requirement for UST TV replacements in a room with ambient light. (Our tutorial on how to select the ideal screen for your projector delves into the topic of screens in greater detail.) For the purpose of this evaluation, I conducted all of my viewing tests using the ALR screen, and I discovered that the image displayed on the 100-inch screen was sufficiently bright for seeing both when the lights were off and when there was moderately bright ambient light.
The strong volume that is produced by the two 15-watt stereo speakers and the built-in Dolby Digital sound system with Dolby Atmos is sufficient to fill a large family room. You also have the option of connecting to an external sound system through Bluetooth, WiSA, or the eARC support on one of the HDMI ports, which will result in an even greater quality of sound. Adjusting the amount of time that elapses between audio and video transmissions is possible through the use of Bluetooth connections, which is a feature that is especially useful.
Support for Dolby Vision High Dynamic Range is on the Way.
The comes with seven predefined color settings for HDR video in addition to the eight established color modes for SDR content. You may also configure each mode and specify whether the modifications should apply to input from all sources or just the current source. This can be handy in situations where multiple sources require different settings to be applied, as you might imagine. The menu displays only those modes that are appropriate for the input that is now being used, which helps to minimize the list. It should be noted that the projector only supports HDR10, according to the specification sheet; however, Hisense claims that the projector also supports HLG HDR, and that it will add support for the more advanced Dolby Vision as an automatic firmware update later on in the summer. Projectors that support Dolby Vision are extremely uncommon. There is no support for 3D here.
However, the majority of people will consider the color accuracy in any of the other modes to be more than acceptable as is. The Vivid mode delivers oversaturated colors that wander outside the realm of realism when it is first turned on, but the other modes all deliver colors that are more accurate. In addition, the menus include all of the options that are required for a complete calibration.
When doing my testing, I used the Theater Day mode for standard dynamic range (SDR) material and the HDR Theater mode for high dynamic range (HDR) video. On the basis of some preliminary tests, I changed the setting for Color Temperature to increase color accuracy, particularly for skin tones, and I adjusted Active Contrast to improve shadow detail. Both of these adjustments were made using the Medium for SDR and the Mid-Low for HDR options. I also turned off the Action Enhancement feature, which smoothes motion by frame interpolation but also adds the digital video effect, sometimes known as the soap opera effect, which makes filmed material appear as though it were live video.
It is recommended that you try out various different configurations for each of these features. The High level for Active Contrast, for example, boosted shadow depth even more in my tests, but it also produced ringing around some objects in brighter environments. This is something that you might find less unpleasant than I did, depending on your personal preferences. In a similar manner, frame interpolation can enhance the appearance of both live and recorded video. Among its options is one called Film, which, in my experiments, significantly smoothed motion without adding any digital video effect.
Rainbow artifacts were something I noticed, as I indicated earlier. However, despite the fact that I can spot these very quickly, I rarely come across them while watching movies or television episodes. The only time I noticed them frequently enough for them to be a problem was when I was watching one of the movies in our test suite that has a lot of scenes that are black with bright highlights. The vast majority of people will not view this as a problem. If you are concerned about rainbow artifacts, however, you should be sure to get the projector from a retailer that has a hassle-free return policy so that you may evaluate it on your own.
In its Game mode, the input lag time of the is certainly short enough for recreational gaming. Using a Leo Bodnar 4K HDMI Video Signal Lag Tester, I was able to get an accurate reading of 34.4 milliseconds for both 1080p 60Hz and 4K 60Hz input. (For further information on how we evaluate projectors, see here.)
Projecting a Single Extremely Huge Television Screen
The is in competition with other projectors as well as televisions, just like any other 4K UST home projector would be. When it comes to what you receive for your money, ordinary flat-panel televisions are not even close to being competitive if you want a screen that is 100 inches or larger. And in comparison to other projectors on the market, the wide color gamut of the PX1-PRO is what sets it apart from the competition, while all of its other features play vital supporting roles.
Take a look at the Epson LS500 if you are very sensitive to rainbow artifacts and do not want to even consider purchasing a projector that is capable of displaying them. The Epson LS500 is our Editors’ Choice pick for its class of 4K UST models since it does not display rainbow distortions. Or, if you are open to the idea of a model with a regular paper path, the offers superior image quality and is the product that we recommend most highly in its price range. If rainbow artifacts aren’t a concern of yours and you’re on a tight budget, you should also consider the and the. The former is a bit brighter and delivered good color accuracy with the default settings in our tests, while the latter shares many of the‘s features (but not the light engine) and comes with a bundled screen.
It is also important to note that Hisense claims the new PX1 model is virtually comparable to the PX1-PRO in terms of the majority of its specifications. The difference between the stated prices of the and the is only $200, but the PX1-PRO offers a greater maximum image size and the promised support for Dolby Vision, providing it significantly more value for the money. Having said all of that, the ‘s TriChroma light engine makes it literally a must-see option that—for those who aren’t bothered by rainbow artifacts—stands alongside the Epson LS500 as our newest Editors’ Choice honoree for mainstream 4K UST laser projectors. Both of these projectors are excellent choices for those who aren’t bothered by rainbow artifacts.
Conclusion: So above is the Hisense PX1-PRO TriChroma Laser Cinema Review article. Hopefully with this article you can help you in life, always follow and read our good articles on the website: Ngoinhanho101.com