Editor's Choice Award
Our Editor's Choice award goes to products that dramatically exceed expectations for performance, value, or cutting-edge design.
- Accurate out-of-box image quality
- Effective HDR and 3D playback
- Solid on-board audio system compatible with outboard subwoofer
- Excellent value
- Ineffective Aptoide-based web-streaming platform
Priced $500 less than its predecessor, Optoma's second-generation CinemaX P2 living room laser projector improves on the original while providing even greater value.
As we move into fall 2020, the UST living room projector landscape continues to evolve. Epson's long-awaited release of its LS500 in September ($4,999 with a 100-inch screen) was expected, but Hisense surprised us with a new, more affordable single-laser model for its Laser TV line that sells for $3,999, as did Samsung, with the announcement of two pending USTs including a single-laser model priced at $3,499 and a $6,499 tri-laser flagship.
Also unexpected was a new offering from Optoma, which successfully launched its CinemaX P1 last year to accolades that included our ProjectorCentral Editor's Choice Award. The CinemaX P2 we're reviewing here is a nearly identical replacement with some key differences I'll describe below. Critically, the biggest of those is a $3,299 street price—$500 less than its predecessor. The P2—like the P1—remains the next step up in the market from VAVA's entry-level $2,799 4K UST projector while carrying the same notable bump in performance. At its lower price, it represents an even better step-up value and stakes a solid claim against the new competition in its price range. Let's have a closer look.
The P2's features are basically a repeat of what we described in our test report of the P1, but let's review them and delineate how the P2 departs. To begin, the high-tech, two-tone cabinet design—with its convex front grille—has a different color scheme. Gone is the jet black/dark gray two-tone for the case and grille, replaced by a white cabinet that matches much of the P1's competition. It's mated here with a light-gray grille. As with the P1 there is just one control on the unit—a power button—and some status LEDs visible on top. All other functions are handled through the compact brushed metal, backlit remote. This modest but efficient mini-wand operates via Bluetooth and has both a conventional navigation pad for menus and an air-mouse function that can be helpful with the built-in web browser and some streaming apps. Its integrated battery requires periodic charging via a USB cable.
Behind the grille is the same NuForce-developed stereo soundbar system found in the P1, with two 2-inch full range aluminum cone drivers and two 2.75-inch paper cone woofers, driven by a total of 40 watts of amplifier power. The woofers are housed in their own ported chambers to improve bass response from the small drivers. In our test of the P1, I found the overall sonics good, but bass noticeably less full and the sound less powerful and detailed than on the VAVA's excellent Harman Kardon-branded sound system. The saving grace with the P1, as well as the P2, is the ability to use the projector's analog audio output to drive a separate powered subwoofer. Adding one takes the audio performance to a whole new level in terms of overall tonal balance, volume/dynamic range, and sheer impact with both action soundtracks and music. I highly recommend putting aside a minimum $100 to $150 extra for a value-priced 10- or 12-inch subwoofer from Dayton Audio or Monoprice.
The same motorized lens optics with manual powered focus developed for the P1 is also found in the P2. The 0.25:1 throw ratio is not as short as on some competitors, which means you'll need more distance from the wall. Image size is specified at 85 to 120 inches diagonal in 16:9 aspect ratio, with throw distances from the back edge of the projector at 5.7 inches for an 85-inch image, 10.1 inches for a 100-inch image, and 14.5 inches out for a 120-inch image. Accounting for the projector's 14.5 inch depth and 5.25 inch height, filling a 100-inch screen puts the front edge of the projector at 25 inches out from the screen while resting on a platform approximately 15 inches below the bottom edge of the screen. (You can visit ProjectorCentral's Optoma CinemaX P2 Throw Calculator for different scenarios.)
Optoma has retained the extensive geometric correction tools found in the P1, as well as compatibility with the clever SmartFit iOS/Android app that uses your smartphone's camera to literally snap the image into place. If you don't mind activating the geometric correction circuitry, it greatly simplifies the tricky one-time maneuvering of the projector that accompanies set-up of any ultra-short-throw projector. On the other hand, you'll want to avoid geometric correction if possible to preserve the best image quality and fastest input lag for gaming. Optoma's new Gaming Mode (see below), virtually a requirement for any game play, defeats the geometric correction in any event.
As also reported for the P1, the combination of the UHD (3840x2160) resolution 0.47-inch DLP XPR micromirror chip, plus the excellent lens optics, results in an exceptionally sharp and detailed image for a UST, with very crisp pixel-level delineation from the center screen out close to the edges with only a slight loss of focus at the corners where it won't usually be noticed. I found my P2 sample to be as good or better in this regard than the P1.
The P2's 3,000 lumen rating for the laser light engine is also unchanged from the P1, and it shares the same 20,000-hour life to half-brightness at full power. Nonetheless, it's a misconception that a laser light engine delivers instant-on performance when you hit the power button. As with any modern TV, you still have to wait for the electronics boot up. With the P2, an Optoma splash screen comes up 18 seconds after hitting the power button, and if you've got a live source connected you'll be watching it in about 36 seconds from turn-on. Shut down is nearly instantaneous and you won't hear the cooling fans run for more than a few seconds after the screen goes dark.
As with the P1, the P2 generates light from a single blue laser that feeds a yellow phosphor wheel and a color wheel to generate the primary colors. In the P1, Optoma used an RGBYRGBY color wheel, adding yellow to the red, green, and blue primaries. This had the effect of stretching the projector's brightness to the full 3,000-lumen spec at the sacrifice of some color accuracy.
Optoma was able to retain the same 3,000 lumens in the P2 while using an RGBRGB color wheel, forgoing a white or yellow segment to boost the brightness. Without that segment, gamut is said to be extended and there's the potential for some colors to appear more saturated, more so when the DLP BrilliantColor control is set to its minimum.
Color gamut in the older P1 was not officially specified, but for our review I measured 79% of the DCI-P3 gamut that today's 4K content is mastered to, or 117% Rec.709. Color gamut for the P2 is specified at 120% Rec.709, and I measured essentially identical results to the P1, so just a percent or three short of the spec and within range of error of my instruments. But the main thing here is that the extension of gamut beyond Rec.709 is a benefit that is clearly visible in the accuracy and saturation of deep red objects, though not quite as obvious as with projectors that reach closer to the full DCI-P3 space.
Also visible is an improvement in rated dynamic contrast ratio from 1,500,000:1 in the P1 to 2,000,000:1 in the P2, made possible by enhancements to the projector's laser dimming scheme. As you'll see in my image quality observations, the improvement in black level is noticeable in dark room viewing.
Along with retention of the SmartFit app, the CinemaX P2 maintains the P1's list of other smart features, including on-board streaming apps from the Optoma Marketplace driven by the Android-based Aptoide platform, and compatibility with Alexa, Google Assistant, and IFTTT automation. Optoma's InfoWall app for customizing your own home screen is still available, though I still find its execution clumsy. There's a new TapCast app for Android and iOS mobile devices that was first added to the P1 in its latest firmware update over the summer and which works well for initiating screen mirroring and casting to the projector, as well as for casting whatever is being projected back to your mobile device.
Another new addition is inclusion of the FRAMED digital art platform. The projector's screen saver, when activated, is now a curated exhibit featuring a dozen rotating works of unique animated digital art by emerging artists.
Unfortunately, my marks for the Aptoide streaming platform remain low. I repeat: no one should purchase this or any projector integrating this platform (including models from Optoma, BenQ, ViewSonic, and VAVA), expecting it to provide the streaming benefits, ease of use, and performance of a name-brand smart TV or a Roku, Amazon Fire, or Apple TV streaming media player. The apps for the major services like Netflix and Amazon are unsophisticated and difficult to use —if they work at all—and some will deliver only standard-definition resolution to your 4K projector. Buy a 4K-resolution streaming dongle for $50.
Optoma took some heat from gamers with the P1 for having noticeably slow input lag, which we measured at 121.8 ms with a 4K UHD signal. The last firmware update for the P1 introduced a Gaming Mode to increase the internal refresh rate and bypass the geometric correction and PureMotion frame interpolation, thus reducing lag to a claimed 66 to 67 ms for both 1080p/60 and 4K/60 signals. This was carried into the P2, where I measured lag at 66.5 ms for 1080p/60 and 69.2 ms for 4K/60 with Gaming Mode on. While this is a vast improvement over the results without Gaming Mode, be advised it's still fairly high and suitable only for casual gaming.
Here's a rundown of the Optoma P2's key features at a glance:
- 3,000 lumens laser light source with 20,000 hour life (full) or 30,000 hour (Eco)
- 2,000,000:1 rated dynamic contrast ratio
- 120% Rec.709 rated color gamut, supports up to Rec.2020
- 0.47-inch 4K UHD resolution DLP XPR imaging chip
- Six-segment RGBRGB Color Wheel
- HDR10, HLG high dynamic range playback
- 3D playback
- 67.6ms (4K UHD, 60 Hz) / 67.1ms (1080p, 60Hz) rated input lag (SmartFIT and PureMotion disabled)
- 40W Dolby Digital 2.0 soundbar with 2 full range speakers and 2 woofers; subwoofer compatible
- Compact, rechargeable Bluetooth remote
- Integrated WiFi with Android-based Aptoide streaming platform; built in browser
- SmartFIT companion app with auto geometry correction system
- Smart+ technology with Alexa, Google Action & IFTTT integration
- FRAMED digital art screensaver
Color modes and Calibration. The P2 offers similar color modes as the P1, beginning with six for 1080p/SDR (standard dynamic range) content: Cinema (the out of box default), HDR Sim (for simulating an HDR effect with SDR), Game, Reference, Bright , and User (which starts out mimicking the Cinema mode). The Bright mode comes with the usual green bias that makes it unsuitable for most serious viewing, though the tint was modest enough that it might be helpful for casual daytime viewing in bright rooms with lots of windows. There are dedicated modes that activate for HDR10 or HLG high dynamic range content and for 3D. All the modes provide the same access to picture tuning controls that include both RGB Gain/Bias for grayscale and a full RGBCMY color management system to align the color points. There's also a laser brightness setting that can be adjusted from the default 100% Brightness setting down to 50% brightness in 5% increments, or switched into any of three graduated DynamicBlack settings that deepen the blacks on dark content.
Although side-by-side comparisons of like-named modes on the P1 and P2 revealed differences in the each projector's tuning, my pecking order remained the same as with the P1. Reference was the most color accurate but least bright mode out of the box, making it most suitable for serious dark-room movie viewing, even on my 100-inch 0.6 gain UST ALR screen. Cinema mode produced noticeably higher brightness for ambient light viewing with a modest sacrifice in color accuracy, and Game mode provided even more punch for high brightness but with much more saturated color and bluer whites that would be well-suited to games and animation but wiped out fine differences in caucasian skin tones in its default settings. I ended up using Reference and Cinema as my dark- and bright-room SDR modes, adjusting the Brightness (black level) and Color saturation controls as needed to insure the best contrast and skin tones.
I performed measurements on the P2 using Calman software from Portrait Displays, an Xrite i1Pro2 spectrophotometer, and a Murideo Six-G 4K/HDR signal generator. Out of the box, the Reference mode measured close to the industry-standard D65 color point but leaned a little red on its grayscale. Nonetheless, images took on an unexpected modest blue tint that proved to be the result of a well-oversatured and off-hue blue primary. Still, this mode calibrated well in the end and ultimately delivered a very neutral white and excellent color accuracy. With final settings I measured 16.1 foot-Lamberts off my 100-inch, 0.6 gain screen, which would translate to about 27 ft-L on a same size 1.0 gain screen.
The Cinema mode defaults looked fine for bright room viewing where both contrast and color accuracy are less mission-critical. Measurements showed a bluer/cooler color temperature for white—not surprising for its higher brightness—and the same blue color point that needed correction. It too, calibrated up nicely and delivered a great-looking image for moderate to high ambient light. As measured in the dark, it punched out 20.1 ft-L off my 0.6 gain, 100-incher (about 33 ft-L on a 1.0 gain screen).
The HDR mode looked excellent out of the box, minus a bit of oversaturation of caucasian faces on most content that was tamed with a few clicks down on the Color control, plus the usual content-dependent tuning of Brightness (black level), Contrast (peak white), and the four-position HDR Brightness setting. The HDR Brightness control, which is easily accessible by pressing and holding the Menu button to call up a small slide-out menu, can be set to Detail, Film, Standard, or Bright. Detail provides the dimmest image for the darkest titles and Bright is for the hottest titles or for adding the most punch to bright highlights in HDR titles with average brightness. For most HDR movies I found the Standard setting preferable to the default Film setting; it usually lent more visceral punch while maintaining good contrast and without pushing the whites into blooming and creating a loss of detail in the highlights.
Calibrating HDR on a projector with instrumentation and calibration software is always a challenge because of the low peak-white brightness compared with the flatpanels for which HDR (and the software) was designed—often around a tenth or less. So I wasn't suprised when a couple of attempts to calibrate the HDR mode resulted in a worse-looking image than what I started with. In the end I just left well enough alone and lived happily with the default HDR settings for grayscale and color points. In the default HDR settings, peak brightness measured 23.4 ft-L or 80 nits off the 0.6 gain ALR screen. This would translate to about 39 ft-L or 133 nits on a unity gain screen. Even on the ALR, it was more than enough for some very punchy and satisfying viewing in moderate to bright ambient light, though without much visible benefit from the nuance of HDR.
In side-by-side comparisons of the P2 to the P1, the P2 achieved a deeper native black that was obvious on dark content, though the projectors were a little more evenly matched with DynamicBlack activated. Beyond this, the key differences I saw were in the overall color balance in the default settings, where the P2 tended more toward a cooler blue in my preferred Reference and Cinema modes (perhaps a result of its oversaturated blue color point) and the P1 leaned warmer. Both projectors looked very good, though, and it was mainly in direct comparison that these differences became apparent. Most viewers would be happy watching either one. The P2's color balance and its whites, after calibration, were pretty much spot on. You can find my final settings in the Measurements section at the end of this review.
Note that when I initially reviewed the Optoma P1 with its earliest firmware release I found that most of the out-of-box picture modes, including the Reference and Cinema modes, were oversaturated and red-leaning on flesh tones. This was easily corrected by turning down Color saturation and pushing the Tint control toward green, resulting in a very good subjective image without the requirement for professional calibration. Those errors seem to have been massaged out in the most recent P1 firmware, and these modes in the P2, with its RGBRGB color wheel, did not require any Tint adjustments for flesh tones and only modest tweaks of Color saturation to accommodate different sources.
SDR Viewing. I often go back to the well-saturated Blu-ray transfer of Apollo 13 to check for the neutrality of whites and the authenticity of familiar colors. Following my calibration of the P2's Reference mode, the white spacesuits worn by the astronauts and the lab coats of the technicians in the clean room where they prepared for their flight were superbly neutral and bright, while the metallic red, blue, and orange fasteners on the spacesuits gleamed and popped nicely off the screen. Ditto for the pure white dress worn by astronaut Jim Lovell's wife to the sun-lit launchpad gallery; it was punchy and bright with no noticeable hint of pink or blue, and the red trim around the lapel of her jacket and deep red accent on her white handbag were striking. Green foliage around the launchpad and the familiar red, white, and blue of the famous NASA insignia all rang true.
I also observed that the rippled texture of the fabric of Mrs. Lovell's dress was easily visible through the projector's well-executed scaling and fine optics. Indeed, the cleanliness of images throughout the movie left a very positive impression of how well the P2 can resolve detail with well-photographed content, even when it's only in 1080p resolution (and with the menu's Sharpness control turned down from its default 10 to 3 to avoid obvious distortion). Details from the interiors of the various spacecraft, with their switches, displays, and warning lights were equally engaging.
Contrast was excellent on the bright and mixed-brightness scenes that make up much of this movie, and as noted above, the P2 showed improved black level compared to the P1 on the movie's few really dark scenes. A shot of a starfield and the tiny, distant moon demonstrated a solid-enough black of outer space to not be distractingly gray or take me out of the moment, and switching in DynamicBlack on this image and others like it greatly improved the low-black—though not without some sacrifice in color accuracy (see below).
Though I tend to be less sensitive to seeing rainbow artifacts than some viewers, I noticed perhaps only one or two on the screen in all of my hours of viewing the P2. That includes rewatching a couple of documentaries—one on Bob Dylan, the other on Frank Sinatra—featuring a lot of black-and-white footage that spawned many rainbows for me when viewed on another single-chip DLP projector I had on hand recently. Nonetheless, our usual advice applies: If you're sensitive to rainbows or don't know if you are, work with a retailer who will accept your return.
HDR Viewing. I sampled a lot of movies in HDR on the P2 and I'm happy to say that, in virtually all instances, I preferred the 4K/HDR versions to the 1080p Blu-ray. That's not always the case because of the limited or poorly executed tone-mapping on many projectors. But the P2's HDR rendering, optimized as needed with adjustments as described above, looked very good on all but the very brightest content. The best example I can cite of the latter is The Meg, a movie which leans so hot that I've yet to find a projector that isn't tripped up by it on the default HDR settings. On the film's brightest scenes shot on the open ocean, most projectors can't even be adjusted to deliver images that aren't blown out to some degree. But HDR movies this challenging are rare, and only the Spears & Munsil UHD HDR Benchmark, which offers a demanding HDR montage that can be set to play with peak brightness at various levels as high as 10,000 nits, is the only other disc currently in my collection that pushes a projector's limits this way. The P2 handled much of The Meg well, but struggled to provide a solid dark floor on its torture test scenes without also burying shadow detail and flattening the highlights. On the other hand, the projector handled some other atypically bright but less demanding titles, such as Aquaman, with better results.
I watched First Man, the Neil Armstrong biopic that tracks his military and NASA career up to his famous moon walk, in both 1080p SDR and 4K HDR. Many of the scenes are moody interior shots that are dark overall, and many other shots feature a mix of bright highlights—such as a white spaceship exterior or the sun-lit lunar surface—against the blackness of space. HDR on the P2 catapulted the highlights off the screen with gusto. The predominantly dark scenes exposed the projector's native black floor, but I found even this to be a reasonably acceptable gray, and the DynamicBlack1 setting for laser brightness noticeably deepened the blacks. Unfortunately, it also tended to add a subtle red tint to faces and to neutral whites and grays—the lunar surface, for example, took on a touch of pink that actually stole some edge off the specular highlights and dulled it, making it feel less dimensional and realistic. So despite the benefit to deep blacks I typically left DynamicBlack off and set the projector power to 100% Brightness. On the vast majority of images with mixed highlights and dark areas, Dynamic Black did little and wasn't missed.
Even for family-friendly animated fare, Trolls is a pedestrian and dull movie. But the HDR disc is a nice visual treat, and it showed off what the P2 can do with deeply saturated colors that run from purple to bright green to magenta to bright orange—and that's just the bodies of the living troll dolls themselves. Meanwhile, in 4K, the furry texture of the trolls' felt skin and the fine detail in their spiked hairdos exhibited wonderful dimensionality. Oh, and the well-recorded pop music soundtrack was a foot-stomping hoot played through the projector's integrated soundbar aided by my outboard sub.
3D Viewing. I found the default 3D mode on the P2 improved vs. the P1, with a slightly more neutral white but one that still leaned a smidge toward blue/cyan. I watched parts of Transformers: Age of Extinction and Pixels, two live action movies mixed with CGI. Both movies were sufficiently bright, saturated and punchy on their respective colorful robots or videogame villains, and reasonably color-accurate on real-life objects like fleshtones, green foliage, and the White House (in Pixels). Of course, there's only so much you can expect from 3D given the inherent limitations on brightness and the color shifting that takes place through the glasses, but the 3D mode on the P2 was more than acceptably bright and accurate, so 3D fans need not fear it. It also provides the same adjustments for grayscale and color calibration should you want to take that on.
In moving from the first-generation Cinemax P1 to the Gen-2 Cinemax P2, Optoma has made some modest but valuable performance and feature updates to an already great projector. Moreover, the company has lowered the price by $500 while sacrificing virtually nothing from the original model. While Optoma now has more competition in this price range than it had a year ago with the P1, the CinemaX P2 is an even more extraordinary value than the P1 when it was launched, and a projector well worthy of retaining the ProjectorCentral Editor's Choice honor bestowed on its predecessor.
Brightness. Due to the extreme angle of light coming off the lens, measuring ANSI lumens for a UST projector with a handheld luminance meter facing into the lens yields the potential for errors caused by small misalignments of the meter. The results in our ANSI lumens chart, which shows maximum brightness in the Bright mode at 2,864 lumens (well within the 10% ANSI tolerance), should therefore be taken with some grains of salt.
Accompanying it below are direct measurements taken off my 100-inch, 0.6 gain Elite Aeon CLR UST ALR screen in a dark room showing the brightness in foot-Lamberts and the color temperature of white for each color mode in its default color temperature setting. With this more reliable technique, I determined that the 50% Brightness laser setting reduced the brightness in any mode by 50.1%, and the 75% Brightness setting reduced brightness in any mode by 76.6%.
Optoma CinemaX P2 ANSI Lumens
|Picture Mode||100% Brightness|
Optoma CinemaX P1 Brightness (Ft-L)*
|Mode/Color Temp||Brightness Ft-L (0.6 gain)||Brightness Ft-L (1.0 gain)||Color Temp (K)|
* Ft-L and Color Temp measurements as taken off a 100-inch diagonal, 16:9, 0.6 gain screen with default projector settings. 1.0 gain brightness figures are calculated estimates. All modes default to 100% Brightness Mode for laser power.
** With Film HDR Brightness mode default.
Frame Interpolation. The CinemaX P2's PureMotion feature appears to be unchanged from what I reported in our review of the P1. There are three active settings besides Off that are labeled 1, 2, and 3 that are available in all modes. It was most effective for smoothing judder on camera pans but didn't do much to reduce the blurring of fast motion on my test clips used to check this. The number 1 setting introduced a modest but noticeable degree of soap opera video effect on 24p film-based content that did not increase noticeably at the higher settings, even though the judder-smoothing effect improved. I did occasionally use the PureMotion 1 setting in the HDR mode to add a touch of shimmer and extra realism, but I'm generally not a fan of introducing SOE to movies and usually left PureMotion in the Off position.
Input Lag. Lag measurements for the P2 were taken with its Gaming Mode turned on; this function is separate from the Game color mode and can be activated with any of the color modes. Flipping this on deactivates and grays out the PureMotion motion interpolation feature in the menus, defeats geometric correction, and speeds the internal refresh rate.
With Gaming Mode on, the lowest input lag measured with a 1080p/60fps signal was 66.5 ms in several color modes (including Game and Cinema). With a 4K/60fps signal in the same conditions, I measured 69.2 ms. The highest lag measured under any conditions was 286.1 ms with 4K/30 fps signals in the Game color mode with the Gaming Mode deactivated and the PureMotion frame interpolation control set to its maximum 3.
Fan Noise. I cited the CinemaX P1 in our review for its clever ventilation design, with two whisper fans on each side panel expelling air brought in from the rear of the projector. Nothing has changed, and the P2 remains remarkably quiet for a 3,000 lumen laser projector. As I reported for the P1, the noise component is a low-pitched hush that is barely audible from six feet in front of the projector. Noise is rated at 24 dB in lab test conditions; my SPL meter measured 33.5 dBA, which is close to the noise floor in my room. The fan was totally inaudible over any kind of soundtrack, and neither changing the picture mode to the brighter options nor adjusting the laser power setting seemed to have any effect. In High Altitude mode, the noise becomes noticeable if you're listening for it, but was exceptionally tame compared to the HA modes in most projectors and was still largely drowned out by any soundtrack.
- HDMI 2.0b (x3) with HDCP 2.2, one with ARC
- S/PDIF optical digital audio out (Toslink)
- Analog stereo audio out (3.5 mm)
- Bluetooth wireless in
- USB Type A 2.0 (4K media player)
- USB Type A 2.0 (media player, power)
- USB Type A (firmware and service)
- Ethernet (RJ-45)
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 of the review for some context for each calibration. As reported, subjective tweaks following calibration sometimes resulted in adjustments to Brightness (black level), Contrast (peak white), and Color saturation to yield the most pleasing results and effect the most natural fleshtones on different content.
The settings below were for a 100-inch diagonal, 16:9, 0.6 gain UST ALR screen with a dark, contrast-enhancing surface.
Display Mode: Reference
Color Temp: Standard
H-5, S1, G-3
H-16, S3, G-7
H-15, S2, G-5
H-11, S-5, G-3
H-12, S-5, G-4
H-29, S-7, G7
Red Gain-6, Green Gain -6, Blue Gain -6
Red Gain: 0
Green Gain: 0
Blue Gain: -1
Red Bias: 0
Green Bias: 0
Blue Bias: 1
Brightness Mode: Power 100%
Display Mode: Cinema
Color Temp: Standard
H-6, S1, G3
H17, S0, G-4
H-17, S2, G0
H-9, S-4, G3
H-20, S-4, G2
H-31, S-9, G8
Red Gain 0, Green Gain -5, Blue Gain -8
Red Gain: 0
Green Gain: -1
Blue Gain: -4
Red Bias: -2
Green Bias: -1
Blue Bias: -1
Brightness Mode: Power 100%
Display mode: HDR
Color Temp: Standard
H0, S5, G20
H0, S5, G20
H-10, S0, G15
H22, S-4, G25
H-31, S-5, G15
H10, S-5, G20
Red Gain 0, Green Gain -4, Blue Gain -8
Red Gain: 0
Green Gain: 0
Blue Gain: 0
Red Bias: 0
Green Bias: 0
Blue Bias: 0
Brightness Mode: Power 100%
For more detailed specifications and connections, check out our Optoma CinemaX P2 projector page.