28000 ISO Lumens 360 Degree Installation 3G-SDI HDBaseT Large Venue Projector DLP Large Venue Laser Projector

A hall does not buy a projector. It buys a schedule that keeps running: a keynote at ten, a rehearsal at two, a closing session at six, and a technician who would rather not re-rig between them.

The SNP-LU31K is built around that reality. One 0.96-inch DMD body, a laser phosphor light source, eight interchangeable zoom lenses, and a set of signal paths that assume something upstream will fail eventually. It is specified for main halls, museums, theatres, performance venues, live control rooms and immersive shells — rooms where the projector is infrastructure rather than equipment.

What follows is the arithmetic behind that claim, written so a technical buyer can check it against the datasheet.

The sheet carries 28,000 lm and 31,000 lm. They are not competing claims; they are two different measurements.

28,000 lm is the figure taken to ISO 21118, averaged across the frame. 31,000 lm is the control brightness, measured at the centre of the projected image. The first is what a light meter will show you when you walk the screen; the second is what the middle of the picture can do.

We publish the average first, because that is the number that survives commissioning. A hall that specifies 28,000 lm averaged, with 90% uniformity across the frame, can plan a screen size and an ambient light level and expect the result to hold on opening night. A hall that specifies a centre figure and gets an average instead will spend the first week arguing about it.

90% uniformity matters as much as the lumens. It is the difference between a slide that reads at the left edge of a 12-metre screen and one that quietly dims towards the frame.

The datasheet lists 10,000:1 static and 3,000,000:1 dynamic. Both are true, and they answer different questions.

Static contrast describes what the panel does in a single frame — the figure a buyer can reproduce with a test pattern and a meter. Dynamic contrast describes what the engine does across scene changes, dimming the source when the content allows it. For a theatre or an immersive shell, the dynamic figure is what the audience feels in a blackout scene. For a procurement specification, the static figure is what belongs in the contract.

HDR is supported in three modes — bright, standard and cinematic — with gamma adjustment available for surfaces that are not flat white. That last point is not decoration: a curved shell or a heritage wall reflects differently from a screen, and gamma is how the image is brought back to something the eye accepts.

Stage geometry rarely cooperates. One venue needs a long-throw position at the rear wall; another needs 0.65:1 from the proscenium; a third wants the projector hanging at an angle the ceiling actually allows.

The SNP-LU31K covers 0.65:1 to 10.8:1 across eight powered zoom lenses, with motorized zoom, focus and shift, a lens lock, and 360-degree installation. The lens lock is the detail that matters on a touring or re-rigged site: it keeps a set focus from drifting when the body is moved, inverted, or hung from truss.

The chassis is 650 * 710 * 251 mm and 54 kg without a lens — a two-person lift onto a mount, not a crane job.

Live work fails at the handoff, not at the lamp. The input set is chosen accordingly: HDBaseT for a long copper run from the rack, 3G-SDI for broadcast chains, DisplayPort 1.2 and DVI-D with HDCP for graphics sources, and HDMI 2.0 twice — one for the show machine, one for the backup laptop that someone will eventually plug in.

Outputs mirror the inputs where it counts: HDMI 2.0, 3G-SDI, RS232, wired remote and a 12 V trigger for screen masks, blinds or a relay. 3D-Sync runs in and out, so a second unit or an emitter chain can be driven from the same clock.

Backup signal resource support is the quieter feature: the projector can hold a spare path behind the primary one, so a source failure becomes a switch rather than a blackout.

Input compatibility reaches 4096 * 2160 at 60 Hz. That is an input statement, not a panel statement — see the next section.

The panel is 1920 * 1200, 16:10, with 16:9 and 4:3 content accommodated. It is not a 4K projector, and we would rather say so in the description than have it discovered at commissioning.

What the 4096 * 2160 at 60 Hz entry buys is headroom at the source: a 4K media server, a graphics card set to UHD, or a broadcast feed can be connected without a scaler in front of the projector, and the image is then mapped to the native panel. For presentation content, control-room graphics and mapped media, that is the practical requirement. For a buyer who needs native 4K on screen, this is the wrong model, and the short conversation now is cheaper than the return later.

Laser phosphor, rated 20,000 hours in standard mode and 25,000 hours in Eco. There is no lamp on a replacement schedule, which changes what a maintenance contract looks like: the recurring line item disappears, and service planning moves from "when does the lamp go" to "when is the next window".

The rest of the thermal design follows the same logic. 0–50 °C operating range, 10–85% RH, and 0–2,500 m with a high-altitude mode above 1,500 m. Heat load is 3,400 BTU/h at full output, which is the number a building engineer needs before the ceiling void is signed off.

Acoustically, 40 dB in standard mode and 38 dB in Eco. In a hall with a programme, that is a figure to place deliberately rather than a figure to advertise.

Consumption is 1,000 W or more, on 100–240 V AC at 50/60 Hz, with standby at 0.5 W or below when LAN is on and 0.2 W or below when it is off. For a 28,000 lm engine, that is an efficient but not miraculous ratio; the useful planning fact is the circuit, not the marketing.

• Main halls and auditoriums — where ambient light stays up and the back row still has to read a slide.
• Museums and galleries — running a daily programme on a fixed schedule, where a lamp change means a closure.
• Theatres and performance venues — that need a black that reads as black, with HDR grading available for projected scenery.
• Live control rooms — where HDBaseT, 3G-SDI and a backup path are the actual specification.
• Immersive and LBE shells — that need edge fusion, geometric correction and 3D sync from one box.

• Rooms that need native 4K on screen. The panel is 1920 * 1200.
• Outdoor or wet environments. The datasheet carries no IP rating, and we will not invent one.
• Installations that require a formal 24/7 duty statement. Continuous-operation terms are a contract question, not a datasheet line.
• Sites that need a single lens to cover every throw. This is an eight-lens system; the range is a family, not one zoom.

No IP rating. No native 4K. No 24/7 warranty language. No lamp life beyond the standard and Eco figures above. No claim that a single lens spans 0.65:1 to 10.8:1.

Every number in this description comes from the specification sheet, including the two brightness figures and the two contrast figures. Where a figure needs a footnote, the footnote is in the sentence.