Most projectors sold as "laser" still contain a spinning phosphor wheel: a blue laser strikes a phosphor disc, the disc spins, and the resulting white light is split by a colour wheel before it reaches the panel. The T1LU1 does not do this. Red, green and blue are generated by independent MCL laser diode modules in pure R/G/B and combined directly. There is no phosphor wheel and no colour wheel anywhere in the light path. That single change is the reason every other figure on this page reads the way it does.
Two moving parts are gone, and with them two problems that installers live with. The first is the wheel itself: a spinning disc is a wear item, a noise source and a heat source, and its rotation is timed against the panel. The second is the conversion step: phosphor converts blue laser into broad-spectrum white, and conversion always costs energy and narrows the colour volume that arrives at the DMD. With direct R/G/B generation, the light that leaves the modules is the light that reaches the panel. Nothing is being translated along the way.
The specification that follows from this is colour brightness ≥100% of white brightness. On a wheel-based projector the colour figure sits well below the white figure, because producing saturated red, green or blue through a spinning segment filter loses light. The practical result is familiar to anyone who has projected a saturated image: the picture dims exactly when the content gets interesting. Here the two numbers are equal, so a deep-blue night scene, a saturated brand colour or a full-gamut mapping frame carries the same output as a white test pattern.
The colour volume reaches ≥110% of BT.2020 and ≥150% of DCI-P3. In plain terms, both the Rec.709 space that most broadcast and corporate content is authored in, and the DCI-P3 space used for cinema grading, sit inside the projector's range rather than being clipped to its edges. A wider source does not get squeezed into a smaller gamut; the panel has headroom above the material it is asked to show.
The complete projector is rated at 10,500 lm and measures 11,500 lm at screen centre. Both figures come from the manufacturer and they describe different things: the first is what the whole unit delivers, the second is what the middle of the frame receives. Quote 10,500 lm when comparing specifications. Read 11,500 lm as the margin available in the centre for long-throw work and for blended edges, where overlap dimming removes brightness from exactly the area you cannot afford to lose it.
Brightness across the frame is uniform to 90%. That matters more than the headline number in a blended wall: two projectors with the same centre brightness and different corner falloff produce a visible seam, and no amount of edge-blending software hides it. Contrast is specified at 6,000,000:1 as a dynamic figure; the datasheet does not carry a static/FOFO value, so treat it as the manufacturer's headline number rather than a like-for-like comparison against a static specification.
The chassis takes seven lenses spanning 0.50:1 to 7.20:1, with the 1.59–2.39:1 fitted as standard. Coverage runs from a short-throw position in a small gallery to a long-throw position at the back of a hall, from one body. Four of the seven are motorized with lens memory and lens calibration, so a saved position returns exactly after a lens swap or a service visit.
| Lens Throw Ratios | 0.50–0.60, 0.64–0.95, 1.04–1.65, 1.59–2.39 (standard), 2.40–4.00, 2.70–4.50, 4.50–7.20 |
|---|---|
| Lens Shift | H ±36%, V ±117.5% |
| Motorized Lenses | 4 of 7, with lens memory and lens calibration |
Lens shift reaches H ±36% and V ±117.5% — the vertical range exceeds the screen height, which means the projector can hang well above or sit well below the frame and still be aimed optically instead of by keystone.
Rotation covers 90°, 180° and 270°, and the mounting modes include front, rear, ceiling-front, ceiling-rear and automatic ceiling detection, so portrait and inverted positions are supported orientations rather than workarounds. Keystone correction reaches ±30° in both axes, and the geometry set adds four-corner and curved-surface correction plus edge blending for multi-projector canvases.
Crestron, AMX Discovery and PJLink are supported over the network ports, so the projector becomes one addressable node in a room system rather than one more hand-held remote.
| Power Draw | 500 W ±15% on 100–240 V, 50/60 Hz |
|---|---|
| Standby Power | Below 0.5 W |
| Acoustic Output | 42 dB (normal mode), 38 dB (Eco) |
| Light Source Life | 25,000 hours (standard mode), 30,000 hours (Eco) |
Because there is no wheel to wear and no lamp to replace, maintenance reduces to filters and the occasional lens change, which is the difference between a projector that gets serviced on a schedule and one that gets serviced when it fails.
The T-series shares one light-source principle across three models, and the difference is what each one is tuned for. The T1LU1 is the efficiency-first build at 10,500 lm. The T1LU2 runs the same engine harder to 17,000 lm for larger screens and brighter rooms. The T2LK1 pairs the same wheel-free source with a 3840 * 2400 frame for projects where pixel density leads. Same architecture, three answers — the choice is about which constraint your room actually has.
