The Optoma CinemaX D2 and D2 Smart are new for 2022 and the latest in the CinemaX line of UST projectors succeeding Optoma's successful CinemaX P2 projector, which received the Editor's Choice Award in ProjectorCentral's review from October 2020. Like other UST laser TV projectors, they offer a big screen movie experience for those with limited space or installation requirements who cannot accommodate a traditional short- or long throw projector. These two projectors are also very capable for gaming, thanks to unusually low input latency and high frame rate capabilities that rival the latest dedicated gaming projectors.

The D2 and D2 Smart are essentially identical except for the D2 Smart's inclusion of an Android streaming dongle and some other wireless features I'll get into later. But both offer a good mix of features for their price, which is $2,699 for the D2 Smart and $2,499 for the D2 prior to any promotion. At time of this post, they were on holiday promotion for $2,299 and $1,999, respectively. Our review sample was a D2 Smart, but aside from discussion of the streaming and wireless features, my remarks should apply to both models, which I'll refer to collectively as the CinemaX D2.

With the UST space growing ever larger with new offerings it can be difficult to navigate, with many USTs excelling in some areas but falling short in others. Optoma, however, is providing a very viable solution with the CinemaX D2 in terms of features and price-to-performance that could be particularly suitable for both movies and gaming alike. As always this will be dependent on the user's needs, so let's dive deeper and see where the successor to the CinemaX P2 lands.

Features

The CinemaX D2 and D2 Smart achieves its 4K UHD resolution with the Texas Instruments 0.47-inch DLP chipset and a 4-Way XPR (Xpanded Pixel Resolution) actuator that performs four-phase pixel shifting. This results in the ability to fully display the pixels within a 4K UHD signal of 3840x2160. In addition, the CinemaX D2 also utilizes 4K UHD HSSI (High Speed Serial Interface) in order to achieve 4K UHD at 60Hz and Full HD 1080p at 240Hz. Since this is a single laser+phosphor projector, the CinemaX D2 makes use of a 6-segment RGBRGB color wheel to present colors sequentially to the imaging device. During my time watching content I did on occasion experience rainbows which can be a common occurrence and concern with DLP projectors. However, it was very mild and, in most content, it would likely not be seen unless a viewer is highly sensitive to this effect. If you are a user who knows you are sensitive to rainbows it is always recommended to purchase through a retailer who will accept returns if needed.

The CinemaX D2 is rated at 3,000 ANSI lumens with Rec.709 color gamut coverage, and in practice I measured 97% Rec. 709 and 84.6% coverage of the DCI-P3 color space. That gamut coverage is fairly standard for projectors in this price point, though a little more of the DCI-P3 space would go a long way for more accurate reproduction of HDR content. As usual, the benefits that come with utilizing a solid-state laser light source are several and include extremely long-life span of up to 30,000 hours in the projector's ECO mode, eliminating the need to change potentially expensive lamps and providing more stable performance over the life of the projector. Fast power-on and -off time, and generally quiet operation even in higher brightness modes are also among the benefits. Luckily, during my time viewing the CinemaX D2 I did not notice any obvious laser speckle, which can sometimes be seen in solid colors when using a laser light source, particularly among the triple RGB laser USTs.

The CinemaX D2 uses a UST lens with a throw ratio of 0.25:1, which is in keeping with the old P2 and is typical of USTs in this price class. It requires as little as 5.75 inches of distance from the rear of the projector to the screen wall to display an 85-inch image and as much as 13.5 inches away from the screen to display a 120-inch image diagonal. As with all UST projectors an offset needs to be taken into account for placement and can range from 6.9 inches upwards to 15.6 inches below screen in order to display the image the desired size. If you're setting up a permanent installation with an installed screen, care should be taken to ensure the screen installation is at the proper height. The CinemaX D2 has the same futuristic styling as the old P2 and essentially the same fairly compact dimensions of 22.6 x 15 x 5.1 inches (WDH), and it weighs in at 18.6 pounds (compared with 24.3 pounds for the P2). Both versions of the projector are available in either white or black to mate with your room. You can visit the ProjectorCentral Optoma CinemaX D2 projection calculator for assistance on screen size vs. distance.

In my installation I was approximately 12 inches away and 12 inches below the screen to project a 103-inch image. To further dial in the image placement, I only needed to make a few quick turns of the tilt adjustment feet to get everything leveled. The CinemaX D2 does provide vertical and horizontal digital keystone, four-corner adjustment, and 3x3 warp for 9 points of adjustment if it's absolutely needed. As with most projector's geometric correction, the user places the projector so the image overshoots the screen boundaries, at which point the corners or sides can be pulled in. But it is always advised to not utilize these functions to maintain full image integrity.

One of the major notable upgrades from the CinemaX P2 is the heavy emphasis on gaming and the decreased input latency. High input lag was a sore spot for users with the original CinemaX P1, and even with the addition of a gaming mode on the P2, ProjectorCentral never measured less than 66.5ms of lag for our review. The Cinemax D2, on the other hand, provides gamers with rated input latency as low as 4.4ms when using HDMI 1, which supports the Enhanced Gaming mode. When measured it came in at a low of 5ms for 1080p/240Hz signals, a touch over Optoma's spec, but probably close enough to be within instrument error. The same was true for other signal types but the readings where still fantastic overall: 18ms for 1080p/60Hz, 8ms for 1080p/120Hz, 5ms for 1080p/240Hz, and 19ms for 4K/60Hz. It is important to note that the lowest input latency is only available when using Enhanced Gaming and that, furthermore, Enhanced Gaming is only available on the HDMI 1 input. When Enhanced Gaming was not enabled, measurements almost but not quite doubled across the board.

Note that there are additional restrictions along with using the Enhanced Gaming feature besides just utilizing the HDMI 1 input. First, Enhanced Gaming and the Gaming picture mode are currently not available if the input signal is HDR. So, this should be kept in mind if the majority of games being played are HDR. Also, as with some other projectors when you activate input-lag reduction features, enabling Enhanced Gaming disables any image and aspect adjustments for keystone, aspect ratio, digital zoom, etc. So, this calls for a precise physical setup of the projector to avoid having to use those features. Optoma says that the restrictions to HDMI1 for both the Enhanced Gaming mode and also eARC (see below) are due to the need to dedicate an HDMI input that bypasses the projector's PureMotion (MEMC frame interpolation) circuitry, which ensures the bandwidth and low input latency requirements for these features. Otherwise, PureMotion and Enhanced Gaming could not be supported on the same projector. As for the inability to use Enhanced Gaming with HDR, Optoma hopes to correct that in a future update. It is said to be among some capabilities that were postponed due to panedemic-related component shortages.

The CinemaX D2 provides a decent number of connectivity options on the rear I/O panel, offering one 3.5mm audio out port, one S/PDIF (Optical) output, three HDMI 2.0 ports with eARC support on HDMI 1 (we will come back to this in just a bit), one RS-232 port for serial communication, and one USB-A port that supports power delivery of 5V/1.5A and can be utilized for service. In regards to the support for eARC, that is fantastic and a welcome feature, however, having eARC tied to HDMI 1 which is also tied to Enhanced Gaming is not the best solution. This is due to how many users may potentially route audio to an external sound system that is more substantial than the on-board built-in speakers. Currently with how this is implemented, if a user wanted to use the benefits of eARC, including the ability to pass Dolby Atmos from the streaming dongle or a connected source, and they were also a gamer, they would have to choose between using Enhanced Gaming or getting Atmos. On the other hand, if a user has a substantial sound system that they run all of their sources through and then out to the CinemaX D2's HDMI 1 port it's not an issue. So, for at least some users, having these two features tied to a single HDMI input may be a problem. Ideally Enhanced Gaming would be available on all HDMI inputs to prevent this scenario.

Included with the CinemaX D2 Smart is an Android TV dongle and remote. This dongle comes with an HDMI to mini-HDMI cable and micro-USB to USB cable with USB-A input. The device is connected on one end to the micro-HDMI and the standard HDMI to the CinemaX D2. The other end of the dongle is connected via the micro-USB and the USB-A to the CinemaX D2 to provide power to the unit. The included USB cable also has a USB input so when using the dongle, you do not lose access to the single USB input on the unit. Unlike with some projectors that hide the streaming dongle in a dedicated compartment, the D2 Smart's dongle just hangs by its cables at the rear of the unit.

The remote included with the dongle is fairly simple with standard navigation directional ring, OK button, return, Home, apps, volume, power, Google Assistant (via an integrated mic), and dedicated Netflix and Prime Video buttons. It also has a button that allows the user to change the remote to control the projector or dongle. When the button is pressed the indicator light on the remote flashes red and the remote will then control the projector using IR. When it's pressed again the light will flash blue and the remote will go back to controlling the dongle via Bluetooth. The dongle supports authorized Google Play store apps with access to most major streaming services including Netflix, HBO Max, Amazon Prime, Paramount+, Starz, YouTube, Showtime Anytime, and others. The support for authorized streaming of Netflix is particularly notable among UST projectors, including other Android-based units. However, the downside is that, similar to the Android dongle supplied with some Epson projectors (including the recently reviewed HC2350), this dongle always forces its output signal to flag HDR, which will cause the projector to activate its HDR processing. The only other option is to go into the settings of the dongle and change Color Depth to Off, which then forces SDR for everything. This works fine for users who only watch either HDR or SDR exclusively. However, if you watch content in both SDR and HDR it may be best to look at a different external streaming device that will properly display the dynamic range of both HDR and SDR content without the need of changing it manually in the streaming device.

Among the apps available for use only with the CinemaX D2 Smart is Creative Cast, which allows for mirroring and casting images and videos from a personal device such as a mobile phone or laptop/Chrome device. The D2 Smart also supports Optoma's TapCast app, which is a more streamlined and slimmed down version of their previous Optoma Connect app. Offering support for iOS, Android, Windows, Mac, and Chrome OS, it allows the user to screen share and mirror their device to the projector, as well as utilize it as a remote to control the projector itself, cast documents, photos and videos.

Happily, the CinemaX D2 also provides support for 3D, which is a welcome addition as projection is effectively the last bastion for 3D and is being increasingly dropped as a projector feature. So I'm always glad to see when it's supported in a new model. When a 3D signal is received, the projector automatically switches into 3D mode, which boosts brightness. A standard pair of 3D DLP-Link glasses connected right away, and the image had very minimal to no crosstalk with a nice sense of depth.

Integrated into the CinemaX D2 are two 10W stereo speakers. They were suitable in a pinch, though they did have a somewhat thin sound to them and lacked any real substantial output. This is one area where Optoma has cut some corners vs. the older P2, which had a more substantial built-in soundbar originally designed by Optoma's NuForce audio division. Voices on the revised system were surprising clear, though deeper voices lacked depth and weight, and unfortunately, the new audio system does not share the P2's option of using the 3.5 mm headphone output as a subwoofer output. Overall, one would be best served to make use of the eARC or S/PDIF output and connect the CinemaX D2 to a more robust sound system.

Lastly, included with the CinemaX D2 is the primary backlit remote, besides the dedicated dongle remote, that has your standard navigation buttons, as well as specific buttons that will take the user directly into specific picture menus such as for the CMS, Dynamic Range, picture mode, etc. This remote unfortunately wasn't the most responsive, however, even after I tried changing out fresh batteries. At times, nothing would happen when pressing a button, and it seemed to be caused by having a very narrow line of sight for the IR to communicate with the projector, which is listed in the manual as 15 degrees both vertical and horizontal. Some of the buttons also seemed somewhat unnecessary and made the remote feel somewhat cluttered and busy. Personally, in the future I would like to see Optoma go back to using a Bluetooth remote as was done with the CinemaX P1 and P2 to alleviate the narrow IR range I experienced with this particular unit, though the lack of Bluetooth in the regular D2 may explain why they went with the same IR remote for both.

Performance

Color Modes. The CinemaX D2 technically has 13 picture modes. Three of these picture modes are the ISF Picture modes (ISF Day, ISF Night, ISF 3D) which are locked behind a code. These are intended for professional calibrators but can be accessed using the remote and entering the following button-press sequence: Power, Up, Down, Up, Up. Once this code has been entered, the user will be presented with a menu and options of Off, On, and Unlock (which allows the modes to be edited). Once unlocked this results in nine dedicated picture modes for SDR, two for 3D, and two HDR. SDR picture modes include Cinema, Film, HDR Sim, Game, Reference, Bright, User, ISF Day, and ISF Night. 3D picture modes will now total two modes which include 3D, and ISF 3D. The HDR picture mode count will remain unchanged with two, those being HDR and User.

The CinemaX D2 provides controls for both grayscale and color management adjustment in all available picture modes. This allowed for white balance adjustment of the grayscale using RGB 2-point controls for Gain and Bias. Color Management System (CMS) allowed for Hue, Saturation, and Gain adjustments for White, Primary and Secondary colors (WRGBCMY) within target color space. Gamma options are all predefined values that ranged from the standard 1.8 to 2.4 as well as Film, Video, and Graphics gamma options. Standard gamma is labeled as 2.2. None of the gamma selections measured in perfect accordance to their menu naming convention, meaning Standard 2.2 measured closer to 2.3 gamma, where 2.0 measured closer to 2.1 and so on.

Out of the box performance varied depending on picture mode selected. Most picture modes were lacking in green and had either an overabundance of red or blue. Some had an excess of both red and blue, which further reduced the amount of green in the image and gave it a slight blueish-magenta hue. Bright was the exception, which presented a fairly heavy green bias (not unusual for a projector's brightest mode). In HDR, the image presented bluer overall.

Initial viewing of the out of the box (OOTB) picture modes provided a pleasing image if you are not heavily focused on accuracy. It was obvious that white was not being accurately displayed, as well as that cyan and yellow were not properly displaying the correct hue and level of saturation. Other colors were noticeably oversaturated, but blue was the worst offender in this area. Calibration did help to make the projector more accurate, though it was not able to fix everything. Primarily, the 100% saturated primary and secondary colors never got where they needed to be, with cyan being the worst of all and unable to hit the desired target in both saturation and hue. Most of the other colors were at least close in regards to Hue, but still with some slight issue in saturation.

For those who opt to use this projector with OOTB settings, I found the most accurate modes for dark room viewing to be Reference picture mode for SDR and HDR picture mode for HDR. For bright room viewing I would suggest either ISF Day or Cinema to be most suitable. In dark room viewing, I found that Standard gamma, which reads 2.2 in the gamma menu but measures a little higher, works well. For bright room viewing the 2.0 setting in the gamma menu (measures 2.1) was good. Setting the projector's laser Brightness Mode to "Constant Power: 90%" worked well in most scenarios though any of these settings can be set based on preference. Having Brilliant Color set to 6 and color temperature set to Warm worked for SDR, while in HDR, Brilliant Color was set to 10, HDR Brightness set to 8, and HDR Picture Mode set to Detail.

I began calibration of the CinemaX D2 using Calman Ultimate calibration software from Portrait Displays, a Colorimetry Research CR-250 Spectroradiometer, a Colorimetry Research CR-100 Colorimeter, and a Murideo 8K Seven Generator. The CinemaX D2 was calibrated to 103-inch diagonal on an Elite Screens Aeon CLR Ambient Light Rejecting screen with 0.6 gain. This is a popular lenticular UST screen type that provides significant contrast enhancement at the sacrifice of some peak brightness. As I normally do, prior to beginning calibration, I ran various measurements to confirm what I saw in OOTB viewing, as well as measuring gamut coverage. Measurements confirmed the lack of green in majority of picture modes, as well as the green bias in Bright. As mentioned above, gamut coverage came in at 97% for Rec.709, 84.6% for DCI-P3, and 63.25% for BT.2020.

Starting with SDR, pre-calibration measurements had very large dE (DeltaE) errors. (DeltaE is the metric used to determine the visible error. It has been determined that anything over a dE of 3 is visible, anything over 2.3 is a just noticeable difference for trained eyes and anything below 2.3 should ideally not be seen to the eye.) Grayscale pre-calibration measurements of ISF Night mode had dE errors all over 3 which were easily visible to the eye. Color gamut color points for the Rec. 709 color space exhibited very high dE errors in double digits, which were due to inaccurate hue and saturation. I ran a large pre-calibration color checker and the results showed and average of 6dE with a max of 17.6dE. (The Calman ColorChecker measures accuracy on a wide range of color swatches corresponding to skin tones, blue sky, etc.) In their defense, Optoma pointed out that they tuned the projector to extract higher brightness and a desirable result in lit environments, resulting in some sacrifice in accuracy.

Utilizing the provided 2-point gain and bias controls for adjustments I targeted the production industry standard D65 neutral gray white point. Afterwards, a full CMS (color management system) calibration for the RGBCMYW primaries and secondary colors was performed as well. Post calibration for SDR resulted in ISF Night being calibrated to peak 10 fL/34.2 nits in my dark theater room. HDR Post calibration measured in at 36.29 fL/124.36 nits.

Post calibration errors were very low and much better than expected considering the starting point. Running an extensive color checker of 150+ patterns resulted in an average of 2.9dE, and a max of 9.4dE which was attributed to areas within Cyan and Magenta. When factoring in 100% saturated colors the Max dE will go as high as 12dE for Cyan. But the majority of measured points were averaging around 2dE. Post calibration results for HDR also improved, though HDR exhibited issues with Cyan as well.

An issue I previously encountered in other Optoma projectors is that when any on screen menu is brought up on screen, it will cause the video to skip when making selections in the menu. Unfortunately, this issue is present in the CinemaX D2 as well. It is a minor annoyance though, as once the projector is properly setup and calibrated there is little need to go into the menu to make adjustments.

The devices I used for reviewing content post calibration were Apple TV 4K, Fire TV 4K, Oppo UDP-203 Blu-ray player, and PlayStation 5.

1080p/SDR Viewing. I began SDR viewing watching Star Trek: Into Darkness on Blu-ray via the Oppo 203. I selected this movie due to the opening scene of the film where Kirk is running through the red forest on Nibiru—all of the color in this scene is very rich and vibrant. The red forest is presented accurately as I know it from other viewings, as was the yellow clothing worn by the natives of the planet. The white paint on the natives was also correct, as were the skin tones of the Enterprise crew. The only color that was off was the robes worn by Kirk and McCoy, they should have displayed in more of a lighter cyan color and were actually being displayed darker than they should. This was also exhibited in the ocean as well. Overall, though, the scene looked good and if one was not familiar with the color of the robes and ocean one would likely not notice it was a bit too blue and too dark.

1080p/SDR 3D Viewing. For 3D I watched Life or Pi on 3D Blu-ray via the Oppo 203. The scene that was most impactful was when Pi saw the school of dolphins and noticed the freighter ship off in the distance. He began shooting flares well into the night, and once the ship was gone and Pi and Richard Parker peered into the ocean and looked down, the deep-sea creatures and bubbles on a full black background provided a nice sense of depth and fairly bright color. The image appeared fairly accurate and the image was bright even when considering the DLP-Link glasses are active. No crosstalk was seen at any point during this scene and the image was clear and overall pleasant.

---

										
Let's Talk Projectors!
										
The ProjectorCentral Forums is a great place to chat with other projector enthusiasts about all things projectors.
										Join the Discussion
									

---

UHD/HDR Viewing. I chose to watch The Rings of Power: Episode 6 on Prime Video via Fire TV 4K. Episode 6 has many varying scenes, from bright scenes with high APL to low APL scenes with bright highlights. An example is when Galadriel is sailing from Númenor and she is speaking with Isildur with a sunset as the backdrop. In this scene, the sky was very smooth with no hint of banding or issues with gradation. The color of the sky was represented accurately, and skin tones looked good without any missing color. A polar opposite scene was when the Orcs were marching on the Southlands. This scene is very dark and had a lot of highlights from the torches being carried by the orcs. This challenging scene unfortunately did expose the low contrast of the projector; it was difficult to get just right as the night was either slightly lifted or slightly crushed. Also, the fires that were being set by Bronwyn while she was hiding behind the hay cart before being found didn't expose all the detail that I know to be there. The inside of the fire appeared white and blew out the detail that should be within it. Overall, however, the scenes didn't look bad, and were presented well for this class of projector even though it was evident detail was missing that would have been there on a display that rendered this correctly.

Baby Driver via the Apple TV 4K finished up my 4K/HDR viewing. I watched the exciting intro to the movie that I have seen countless times. The red Subaru WRX that was the initial getaway car was accurate to everything I've watched it on. It had the correct shade and saturation of red. The city as they were driving through it looked good as well. There was some slight clipping of detail in the clouds in the sky, but that was only noticeable because I was looking for it. Skin tones looked good but they weren't perfect either. They were just a tad off in the amount of red, but it was very close, and I saw it only in certain scenes with certain lighting, such as when Baby first started talking to Debra in the dinner. Debra's skin tone looked correct, though in the prior scene just after the first heist Griff's (Jon Bernthal) skin tone was slightly off. This is likely due to just the lighting in that room, though it was noticeable. Outside of that the movie itself looked rather good.

Gaming 4K/60 and 1080p/120. For gaming I tested God of War: Ragnarök on PlayStation 5. I tested this several times with various configurations, such as HDR Off, as to allow enabling of Enhanced Gaming to be turned On. I also played with HDR On, using the game's Resolution High Frame Rate mode which locks the framerate to 40Hz, which results in Enhanced Gaming being turn Off since I was playing in HDR. I also choose this title because I have recently been playing this on a LG G2 OLED, so I'm very familiar with how it feels with low latency.

With Enhanced Gaming on, the play felt good, and responsive. It was most noticeable while parrying attacks with Kratos. Color looked good and only slightly off when looking at the sky, as it was a little too dark for SDR. After this I switched to HDR, which turns off Enhanced Gaming. Since I had just played with Enhanced Gaming on, I did notice the increase in latency after it was turned off, particularly when parrying attacks. Color and saturation were much better in HDR than with the SDR presentation, with good saturation on the attacks using the Blades of Chaos. But it didn't take too long to get accustomed to the difference in latency between the two modes, and it was playable with some slight adjustment in my playing. Overall, the CinemaX is a very capable gaming projector.

Conclusion

The Optoma CinemaX D2 is a very competitively priced and very capable entry into the UST space, and a worthy successor to the CinemaX P2. Offering great input latency and capable HDR performance, it is a viable option for many. There is room for improvement in various areas, however, such as the OOTB color accuracy, as well as post-calibration color accuracy and gamut coverage. Furthermore, tying Enhanced Gaming to a single HDMI 1 input, as also found on some prior Optoma projectors, may prove problematic for some users, as is doubling it up with the only HDMI ARC port. And not having the low input lag of Enhanced Gaming available in HDR is a rather big miss in my opinion, given the large number of games releasing now with HDR support.

All of that aside, though, the CinemaX D2 and D2 Smart are very capable gaming USTs and should be high on the list of potential purchases for gamers seeking an ultra-short throw. Avid movie watchers will also find a lot to like here, especially at these projector's current street prices that offer more performance than you expect at the price.

Measurements

Brightness. The Optoma CinemaX D2 is rated for 3,000 ANSI lumens. The brightest picture mode in SDR was Bright and in HDR it was User picture mode. In SDR, this picture mode measured 3,302 ANSI lumens, which is 9.1% higher than Optoma's 3,000 rated ANSI specification. However, readers should note that measuring ANSI brightness on a UST projector with a handheld luminance meter is extremely prone to large swings in readings from small movements of the meter, and this significant overage can likely be attributed to errors in positioning.

The brightness mode settings were interesting, as various settings measured the same as other modes depending on how they were configured. Setting the laser to Constant Power 100% provided the brightest image, and everything scaled down from there. Setting the projector to Dynamic Black results in a 10.6% decrease compared to Constant Power 100%. Eco Results in a 17.5% decrease. Changes to the Constant Power setting results in a 5% decrease each step down from 100, meaning that going to 95% is in fact a 5% decrease, 90% drops another 5% totaling a 10% decrease from 100%. Constant Luminance measures the same as Constant Power if the values are the same, meaning 80% Constant Luminance measures the same as 80% Constant Power.

Optoma CinemaX D2 ANSI Lumens

SDR Mode	Constant Power 100	ECO	Dynamic Black
Cinema	2,390	1,971	2,136
HDR Sim	2,846	2,347	2,544
Game	2,862	2,361	2,558
Reference	1,811	1,494	1,619
Bright	3,302	2,724	2,951
User	2,486	2,050	2,222
ISF Day	2,627	2,167	2,348
ISF Night	2,621	2,162	2,343
HDR Mode
HDR	2,601	2,145	2,325
User	2,649	2,185	2,368

Fan Noise. Optoma rates the fan noise at 26 dB for typical noise level, and 28 dB at max noise level. Using Room EQ Wizard software and a Umik-1 microphone, my theater room ambient noise floor is 33.3 dBA. The Optoma CinemaX D2 measured at the following dB for both SDR and HDR, in the following brightness modes, from a distance of approximately 2.5 feet from the exhaust vents located on the left and right sides. Measurements were also taken from the front and above. Brightness mode did not impact the measurements nor did SDR or HDR.

SDR/HDR
Above: 35.3 dBA
Front: 35.5 dBA
Left: 36 dBA
Right: 37.6 dBA

Input Lag. Input lag measurements while using Enhanced Gaming on HDMI 1 input were recorded as follows:

1080p/30 = 42ms
1080p/60 = 18ms
1080p/120 = 8ms
1080p/240 = 5ms
2160p/30 = 43ms
2160p/60 = 19ms

Connections

• HDMI 2.0 (x3; HDMI 1 eARC; HDCP 2.2)
• RS-232 (1x)
• USB 2.0 type A (x1; 5V/1.5A power delivery/service)
• 3.5mm Audio Out (1x)
• S/PDIF (x1 Optical output)

Calibrated Settings

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 for some context for each calibration.

SDR Settings

Display Mode: ISF Day
Wall Color: Off
Dynamic Range: Auto
Brightness: -11
Contrast: -5
Sharpness: 6
Color: -6
Tint: 5
Gamma: 2.0 or Standard (2.2)

Color Settings

Brilliant Color: 6
Color Temperature: Warm

Color Matching

Color	Red	Green	Blue
White	-9	12	-10
	Hue	Saturation	Luminance
Red	6	-1	0
Green	-10	0	20
Blue	-18	-1	-5
Cyan	-28	1	13
Yellow	33	4	7
Magenta	0	-11	-2

RGB Gain/Bias

R Gain: 0
G Gain: 0
B Gain: 0
R Bias: -1
G Bias: 0
B Bias: 0

ColorSpace: Auto

Brightness Mode: Constant Power = 90%

HDR Settings

Display Mode: User
Wall Color: Off

Dynamic Range:
HDR/HLG: Auto
HDR Picture Mode: Detail
HLG Picture Mode: N/A
HDR Brightness: 8

Brightness: -3
Contrast: 3
Sharpness: 3
Color: 10
Tint: 0
Gamma: N/A

Color Settings

Brilliant Color: 8
Color Temperature: Warm

Color Matching

Color	Red	Green	Blue
White	-13	11	-8
	Hue	Saturation	Luminance
Red	-12	18	9
Green	6	16	27
Blue	-19	19	-9
Cyan	-25	21	15
Yellow	0	6	12
Magenta	0	10	7

RGB Gain/Bias

R Gain: -2
G Gain: 0
B Gain: -2
R Bias: 0
G Bias: -1
B Bias: 1

ColorSpace: Auto

Brightness Mode: Constant Power = 100%

For more detailed specifications and connections, check out our Optoma CinemaX D2 Smart W projector page.

To buy this projector, use Where to Buy online, or get a price quote by email direct from Projector Central authorized dealers using our E-Z Quote tool.

The Optoma CinemaX D2 Smart W is also sold outside of the United States of America as the Optoma D2+ W. Some specifications may be slightly different. Check with Optoma for complete specifications.

Post a comment

 

Enter the numbers as they appear to the left