Hisense PX4 Pro 4K Triple-Laser UST Projector Review: Accurate by Default, Adaptable by Design

The PX4 Pro gets the big things right. Compared with the PX3 Pro, it delivered more brightness, a broader contrast range, sharper focus, and less distracting fan noise. Those improvements showed up in direct testing. Factory accuracy is a separate, sample-specific result: our PX4 Pro included several cinema modes that were legitimately accurate before calibration.

The result is simple. The PX4 Pro is a clear step past the PX3 Pro.

The quieter fan is one of those improvements you notice in use. In a same-distance comparison, the PX3 Pro remained clearly audible while the PX4 Pro’s less intrusive pitch and tonality let it fade into the room. The informal level difference was only about 2 dB, but subjectively the improvement was much more obvious.

Here is what matters most. The accurate modes keep the light. Theater Day and Theater Night in SDR, plus Theater in HDR, deliver faithful color with competitive output. The exaggerated factory modes mostly traded accuracy for styling, not for a dependable reserve of extra brightness.

Then the iris changes the equation. Close it and the PX4 Pro trades surplus light for a darker black floor and higher native contrast. Open it and Brightness Enhancer can push harder when room light matters more than D65 neutrality. Bright when asked, balanced when it matters. That is the PX4 Pro's real personality.

The gaming limit is clear. With a PS5 Pro and Gran Turismo, the PX4 Pro accepted a 4K/120 signal, while the projected image stayed at 60 Hz and visibly lost resolution. I would use 4K/60 and keep the full visual experience. For the lowest latency, switch to 1080p and run the projector at up to 240 Hz.

Verdict

The PX4 Pro is easy to recommend. Its accurate modes are also its useful modes. SDR Theater Day and Theater Night, HDR Theater, and both main Dolby Vision presets deliver credible color before calibration. The stylized alternatives mostly change taste and processing while leaving the supposed reserve of hidden light right where it was.

Brightness is abundant at 100 to 120 inches. There is enough optical headroom to close the fixed iris, lower the black floor, and still keep a lively image. Go larger or add room light, and an open iris with Brightness Enhancer Standard gives the projector a useful second personality. High and Ultra push farther, with color costs you can see.

A basic HDR Theater two-point correction cut average grayscale error by 68 percent and retained 99.1 percent of measured white output. That is a lot of improvement for three conservative gain settings. Dolby Vision is accurate, the lens is sharp, VIDAA is fast, and the built-in audio is genuinely useful. Full-resolution 4K/120 remains the major gaming caveat.

Accurate color is not the low-output mode here.

The right buyer wants one UST projector for two jobs. With the lights out, the PX4 Pro behaves like a serious home-theater display. When the room gets less cooperative, it can turn into a high-output lifestyle display. It handles both roles with fewer compromises than the PX3 Pro.

Hisense PX4 Pro: Specs, Pricing, and Features

The PX4 Pro sits in an interesting spot. At review time, ProjectorScreen listed it for $3,997.97, discounted from $4,497.97. That puts it above mainstream UST models and below Hisense's larger, brighter L9Q flagship. The value comes from accurate RGB-laser color, a fixed optical iris, Dolby Vision, generous connectivity, and enough output for both theater and mixed-light use.

The PX4 Pro is rated for up to 3,500 ANSI lumens and images from 80 to 200 inches. It supports Dolby Vision, HDR10+, HDR10, HLG, and IMAX Enhanced, while the VIDAA platform adds AirPlay, Miracast, Wi-Fi 7, Bluetooth 5.4, and gigabit Ethernet. Hisense also includes FreeSync Premium and high-refresh 1080p gaming.

The Standout Feature: A Fixed Iris That Makes the Brightness Useful

The iris changes the projector. It is fixed, so it stays in one position from scene to scene, and Hisense's Cinema 1 and Cinema 2 labels are fixed presets as well. You get a repeatable optical choice, not another processing effect.

That matters because the PX4 Pro produces more light than many dark rooms need. Manual 3 kept 83 percent of open-iris output and raised native/static sequential contrast from 3,021:1 to 4,144:1. Manual 4 kept nearly three-quarters of the light and reached 4,629:1. The full curve appears later, and it makes the tradeoff easy to see.

The iris turns surplus light into better blacks instead of leaving that output unused.

Core Technology: RGB Laser Color and Pixel-Shifted 4K

The lens is sharp. For sure. Once aligned, text, game HUD elements, and fine artwork all looked crisp, while DLP motion kept that precision intact.

Hisense identifies a 0.47-inch DMD and what it calls a "DLP 8445" chip. Texas Instruments identifies the DLPC8445 as a controller compatible with its 0.47-inch DLP472TP chipset and states that the DMD displays four distinct screen pixels per micromirror per frame. Taken together, those documents support describing the PX4 Pro as a four-position pixel-shifted 4K UHD projector, although Hisense does not name the DMD model itself. Hisense's 200-inch maximum is plausible as a focusing claim. Brightness at 200 inches still depends on the screen and the room.

At a Glance: Key Specifications

Source: Hisense official PX4 Pro listing and specification sheet. Advertised specifications are not ProjectorScreen measurements.

Design, Build, and Setup

The PX4 Pro is compact for a high-output UST. It measures 21.3 inches wide, 11.3 inches deep, and 5.6 inches high, and it weighs 18.3 pounds. It looks premium without turning into furniture. UST projectors rarely feel portable to me, but this one moved between test spaces without making the process an event.

UST setup still plays by UST rules. Hisense specifies a 0.2 throw ratio and an 80- to 200-inch image range, but a throw this short demands precise placement. Small changes in cabinet height, wall distance, screen flatness, or projector yaw become large changes on the screen.

Auto Screen Fit can help with 100- to 120-inch images. Get the physical alignment as close as possible first because digital correction costs resolution.

I used the PX4 Pro in two very different real installations. At home, it drove a 100-inch Spectra Projection Phoenix floor-rising UST screen. At ProjectorScreen's lab, I also used it with a seamless 150-inch Spectra Projection Equinox and a 100-inch Stewart StudioTek 100 for controlled measurements.

The two Spectra screens are specified at 0.7 gain. At 100 inches, the projector has enough extra light to justify closing the iris. At 150 inches, opening the optical path gives a truly large image the headroom it needs.

VIDAA, Connections, and Daily Use

VIDAA gets out of the way. It is quick, clean, and easy to navigate, and daily use felt at least as responsive as the Google TV projectors I regularly use. Built-in AirPlay is a real advantage because many competing Google TV projectors still leave it out. Hisense also lists Miracast, Wi-Fi 7, Bluetooth 5.4, gigabit Ethernet, and Control4 support.

Four HDMI inputs. That is a practical luxury on a projector. Two are HDMI 2.1 ports with ALLM, two are HDMI 2.0, and HDMI 3 handles eARC. USB 3.0, USB 2.0, and optical digital audio round out the panel. A console, disc player, streamer, and audio system can all stay connected.

The backlit voice remote makes sense. Laser level gets its own rocker beside volume, which is handy, although I kept wishing I could reassign it to the iris. Netflix, YouTube, Prime Video, and Disney+ have dedicated keys. Nothing here asks for a learning curve.

Measurement Setup

Here is how I measured it. The out-of-box SDR, HDR10, and Dolby Vision surveys used a Colorimetry Research CR-250 spectroradiometer, a VideoForge Pro pattern generator, and Calman Manual Calibration workflows with a one-second pattern delay. I kept signal types and run conditions separate, so a relative white measurement from one survey never became a fake lumen number in another.

The later calibration, Brightness Enhancer, maximum-output, and iris work used a CR-100 colorimeter profiled directly against the CR-250 on this projector and optical path. The profile was excellent. Across 30 patches, mean direct meter-to-meter dE2000 was 0.255, the worst patch was 0.814, and every patch stayed below 1.0. I used three-sample averaging and kept Low Light Handler off for the comparative profiles and contrast pairs.

The main measurement screen was a 100-inch, 16:9 Stewart StudioTek 100. A UST hits the screen at a severe vertical angle, so reflected luminance cannot be converted to projector lumens as if the material behaved the same way with long-throw and UST light. We measured an Optopolymer reference surface and the StudioTek 100 at the exact same spot with the CR-250, first with a long-throw projector and then with the PX4 Pro.

The record identifies the reference only as Optopolymer, so its exact commercial name still needs confirmation. The matched readings were 640/656 nits under long throw and 333/292 nits with the PX4 Pro, which yields a projector-specific correction factor of 1.168921.

Here's the scoop on that: Stewart’s current StudioTek 100 web product page specifies a minimum throw distance equal to 0.3 times image width, while Stewart’s linked PDF data sheet lists a 0.1 minimum throw. The PX4 Pro’s 0.2 throw ratio falls between those two published figures.

In practice, the combination worked well for both controlled measurements and viewing. Because Stewart’s published guidance is inconsistent and this setup falls below the current web-page recommendation. The compensated lumen values are projector-specific, screen-derived estimates for the PX4 Pro and StudioTek 100 combination rather than generalized to every UST or screen.

That's why every lumen figure in this review is labeled as a PX4/ST100-compensated screen-derived estimate. The correction comes from one precisely matched screen position. These numbers are useful for comparing projector states and planning screen brightness, more so than the advertised lumens.

Brightness

This is where the PX4 Pro gets interesting. Hisense advertises up to 3,500 ANSI lumens, while accurate SDR Theater Night with the iris open produced about 2,043 PX4/ST100-compensated screen-derived lumens. The controlled HDR Theater iris curve started at 2,088 compensated lumens. Those are bright, accurate viewing states, not green-tinted maximum-output modes.

There is more horsepower if you want it. Vivid with Brightness Enhancer High reached about 2,850 compensated lumens and remained acceptable for television or sports when visibility mattered more than a D65 white point. Vivid/Ultra reached about 3,295 compensated lumens, close to the advertised headline, and turned the picture cyan-green. I would use Ultra to demonstrate maximum output, then turn it off.

Brightness Enhancer changes more than brightness. White balance, color placement, tone mapping, and luminance all move together.

Standard is the usable setting. In calibrated HDR Theater with the iris off, it raised 100-percent white from 213.39 to 247.90 nits, a 16.2-percent gain. Average grayscale error rose from 0.82 to 3.90 and the picture looked visibly cooler. In a mixed-light room, that trade can make sense. It is the only enhanced HDR setting I would use for ordinary viewing.

High reached 270.36 nits, 26.7 percent above Off, and added a conspicuous green-cyan cast. I can defend it for daytime sports or television when visibility wins. It has left movie-oriented D65 territory by then.

Ultra hit 314.99 nits, 47.6 percent above Off, while grayscale error climbed to 16.45 and saturation error to 15.03. That is a dyno run, not a movie mode.

SDR tells the same story with the volume turned up. Vivid with Brightness Enhancer High extrapolated to about 2,850 compensated screen-derived lumens. Its 9,224 K white point was inaccurate, yet the picture remained far more watchable than Ultra and retained 86.4 percent of Ultra's output. Vivid/Ultra averaged 325.46 nits across a complete nine-position grid, or about 3,295 compensated lumens, with white at roughly 11,446 K and an unmistakable cyan-green tint.

In other words, High is the plausible bright-room option. .

SDR Accuracy and Picture Modes

The SDR answer was simple. Theater Day was the best overall starting mode, with average grayscale Calman dE2000 of 1.79 and average saturation error of 1.99. That is genuinely good out-of-box performance.

Theater Night was nearly as accurate and measured 11.6 percent brighter than Theater Day in the matched quick scan. It became my practical dark-room default because the grayscale looked convincing, color looked natural, and there was plenty of headroom.

On the 100-inch Phoenix with the lights out, laser level 10 and an open iris were more light than I wanted. Closing the iris made the image easier on my eyes and improved the black floor at the same time. The meter explained what I was already seeing.

SDR Filmmaker Mode was the odd one. Its primary and secondary chromaticities were exceptionally well placed, and my first impression was positive. Then the meter exposed gamma and luminance compression: average grayscale error reached 10.93 even though saturation error averaged only 1.25. It still managed to look great though.

Energy Saving was restrained, competent, and genuinely dimmer. Vivid, Enhanced ACR, Standard, Sport, and Game pushed the picture cooler, wider, flatter, or more processed. Here is the surprise: the extra styling delivered almost no extra light. Vivid, Enhanced, Standard, and Sport showed no dependable brightness advantage over the accurate Theater modes in the matched scan. Game beat Theater Night by only about 2.3 percent while producing much larger grayscale and color errors.

That result is unusually consumer-friendly. Start with accurate color. Pick Theater Day or Theater Night according to the room, then add only the processing or latency features you need.

HDR10

HDR charts can make any projector look broken. The PX4 Pro cannot reproduce a 1,000-nit mastering display at normal home-theater image sizes, so it tone-maps. Fold every missing nit into one color-error number and the graph grows an alarming hump that mostly says, "this is a projector."

I used Calman dE2000 with luminance excluded for the displayed HDR grayscale and color summaries, then treated EOTF and tone mapping separately. The luminance evidence stays in the review without masquerading as a color error.

Theater won HDR. It averaged 1.94 grayscale Calman dE2000 and 1.27 saturation error with luminance excluded, and it also produced the highest relative 10% stimulus reading in the matched CR-250 survey. Once again, the accurate mode kept the light.

IMAX Cinema and Filmmaker were credible alternatives. Both used darker, more cinema-oriented mapping with strong saturation tracking. The better choice depends on the screen, the room, and how much lift you want through the middle of the image. Enhanced ACR and Vivid measured somewhat wider gamut boundaries with inaccurate color placement. More gamut area did not mean more fidelity, and Vivid produced the lowest relative peak response in the matched scan.

Real content settled it. Theater gave faces and neutral objects the most believable balance, while deeply saturated reds and greens still showed what the RGB laser engine could do. It looked vivid without treating "Vivid" as an instruction.

Two-Point Calibration

The calibration was almost comically simple. I used HDR Theater with the iris off and Brightness Enhancer off, then set R-Gain to -3, G-Gain to 0, and B-Gain to +1. Every offset stayed at zero.

The gain values did almost all the work. Average grayscale error fell 68 percent, upper-grayscale error fell 90 percent, and measured white output dropped by less than one percent.

The projector was already close. A basic two-point correction made it excellent without taking the punch out of the picture.

The table uses the matched August 10 pair, which moved from 2.86 to 0.92. A second accepted run on August 11 measured 2.94 before correction and 0.82 after it. I used that 0.82 result as the Brightness Enhancer Off baseline. The two post-calibration numbers come from separate valid runs, so there is no conflict.

Dolby Vision

Dolby Vision was easy. Dark averaged 1.78 grayscale Calman dE2000 and Bright averaged 1.66 with luminance excluded in the CR-250 runs. Both were credible out of the box, and their peak capability was essentially the same.

The difference was mapping, and it was substantial. In the repeatable CR-100 follow-up, Dolby Vision Bright raised the 10% stimulus reading to 2.86 times Dark and the 50% stimulus reading to 1.44 times Dark before the curves converged near the top. Bright makes shadow and midtone detail easier to see with room light while leaving the peak-white ceiling unchanged. Dolby Vision Game followed the brighter upper-range tendency and kept a somewhat deeper low end.

One sweep cannot tell the whole Dolby Vision story. It describes the tested sequence and starting modes, while dynamic metadata keeps shaping the tone curve from scene to scene.

Contrast, Black Level, and Dark-Room Limits

This is where the iris earns its keep. The controlled curve used HDR Theater after the two-point correction, Brightness Enhancer Off, repeated full-field white and black measurements, median aggregation, and a closing drift check. Dynamic controls were off, so the ratios below are native/static sequential contrast for the measured states.

Manual 3 is the sweet spot. It keeps 83 percent of open-iris output and improves contrast by roughly 37 percent. Manual 4 is the serious dark-room step, reaching 4,629:1 while keeping nearly three-quarters of the light. The curve flattens after that. Manual 5 adds almost no contrast, and Manual 6-7 give up a lot more brightness for modest gains.

The drift check held up. After the long session, white and black were both about 2 percent lower, while contrast changed by only -0.12 percent. That supports the shape of the curve and accounts for normal projector drift.

An earlier SDR Theater Night sweep reached 5,545:1 at Iris 6 while producing about 1,313 compensated lumens. That result remains valid for its SDR mode and signal state, so I keep it separate from the newer HDR curve. Both tests point to the same conclusion. The best iris position depends on the room and screen.

The PX4 Pro also separates itself from the PX3 Pro. In a comparable SDR Theater context, the PX3 Pro produced an estimated 1,740 compensated lumens and about 3,340:1 contrast. The PX4 Pro measured about 2,043 lumens with Theater Night and the iris open.

Manual 1 still produced about 1,882 lumens at 3,821:1, while Manual 2 produced about 1,796 lumens at 4,147:1. Both settings stayed brighter than the PX3 result and delivered higher contrast. The iris is a real upgrade, with numbers behind it.

The quieter fan, sharper picture, and wider operating range make the PX4 Pro the stronger projector here. These are iterative improvements, but they land in places an owner notices every day.

Sharpness, Artifacts, and Screen Pairing

The charts answered one set of questions. Real content answered another. I ran dark movie scenes, faces, saturated artwork, landscapes, game footage, and images that doubled as informal test patterns. Closing the iris to match the screen gave dark scenes convincing depth. Bright color stayed intense without making skin tones look radioactive, fine detail held together, and DLP motion kept games and sports looking clean.

Laser speckle is visible, though it is highly screen-dependent, and viewers sensitive to single-chip-DLP rainbow breakup may see that too. Screen material changes speckle, while eye movement, high-contrast objects, and individual sensitivity affect rainbow visibility. These are real considerations on the firmware tested for this review.

Screen choice is part of the projector. One gain number cannot explain a UST screen. A lenticular screen accepts the steep projector light arriving from below and rejects much of the ambient light coming from above, usually offering a wide horizontal viewing cone. A Fresnel UST screen also favors projector light arriving from below. It can direct more light toward the seats and fight room light from more angles, with a narrower and more position-dependent view.

Matte white screens such as the Stewart StudioTek 100 stay neutral and offer very wide viewing angles. They can work well in a controlled room, though a blacked-out theater is preferred because reflected light from the ceiling, sidewalls, front wall, floor, and furnishings can return to the screen and raise the black floor.

The PX4 Pro has enough range for all three approaches. In a lights-out room, a lower-gain lenticular screen and a partly closed iris produce a more comfortable image with a darker black floor.

In a dedicated theater, a matte white screen can work, but the room needs broader reflection control than the ceiling felt alone. Dark, low-reflectance treatment on the ceiling, sidewalls, front wall, floor, and nearby furnishings helps keep projected light from washing back onto the screen.

In a multipurpose room with some ambient light, open the iris and try Brightness Enhancer Standard. High can also work for less critical sports and TV, and a higher-effective-gain Fresnel screen can push that bright-room performance even farther. In most installations, a 100-inch or 120-inch lenticular screen offers the best overall balance.

The screen-size math needs context. These planning values use measured projector output, nominal 0.7 gain for the Spectra Phoenix and Equinox, and the standard Lambertian area relationship. They are estimates. Seating height, angle, uniformity, and the screen's UST optical behavior all change effective gain.

The math tracks what I saw. On my 100-inch Phoenix, accurate Theater output was abundant; even Manual 4 works out to roughly 124 nits on a nominal 0.7-gain screen. At 120 inches, accurate iris-open output remains around 115 nits and Manual 3 lands near 100 nits. At 150 inches on the Equinox, accurate Theater sits in the low-to-mid 70-nit range. Vivid/High can cross the 100-nit line at that size, when daytime visibility matters more than white-point accuracy.

At 200 inches on a 1.0-gain white screen, accurate Theater works out to about 59-60 nits. That is below the 100-nit TV/streaming/gaming SDR target, but it can still look compelling with the lights out.

Here is the cleanest way to read it: Accurate SDR Theater Night reaches a calculated 100 nits at about 129 inches on a 0.7-gain screen or 154 inches at 1.0 gain. Vivid/High extends those figures to roughly 152 and 181 inches. Ultra approaches 163 inches at 0.7 gain or 195 inches at 1.0 gain, though the green-cyan cast turns that last figure into a “see, it meets the marketing specs” number, not a viewing recommendation.

Screen choice is part of the optical system with an RGB-laser UST.

Motion, Sports, and Gaming

Start gaming in Theater. The factory Game preset is much cooler and less accurate, and it offered only a tiny relative-output advantage in the SDR readings. I got better results from an accurate Theater-family mode, matched the iris and Brightness Enhancer to the room, and then enabled low latency and VRR within that mode.

Hisense lists FreeSync Premium and VRR from 48 to 240 Hz at 1080p, plus 1 ms latency at its stated 2K/240-Hz mode using DLP Turbo. DLP Turbo strips away most processing, and lower-resolution high-refresh gaming feels extremely immediate. The resolution drop remains visible on a large screen, but when a game demands instant response, this projector has a way to deliver it.

Gran Turismo on PS5 Pro settled the 4K/120 question. The PX4 Pro accepted the signal. Hisense confirmed that the 4K/120 input uses a reduced-resolution path rather than full-resolution 4K/120 presentation. On the PS5 Pro, projected output stayed at 60 Hz with visible resolution loss, though the drop did not look as severe as 1080p; it looked closer to a half-resolution presentation. For console gaming, I recommend 4K/60 for the full visual experience. Use 1080p at up to 240 Hz with a PC when latency matters most.

Then I performed the essential scientific work: several hours of Grand Theft Auto Online on the PS5 Pro I had recently bought. Forza on Xbox Series X confirmed VRR support in practice. At 4K/60, the PX4 Pro looked sharp, fluid, and cinematic. Skin tones and neutral surfaces stayed believable, saturated reds and greens had real RGB-laser intensity, and crisp DLP motion kept 1080p high-refresh play compelling even after the pixel count dropped.

Sports change the priorities. Brightness Enhancer Standard is the sensible first HDR step. High is defensible when room light is the main problem and you accept a cooler, greener picture. Ultra goes too far. In SDR, Vivid/High trades accuracy for roughly 2,850 compensated lumens and remains much more watchable than Ultra.

Audio and Fan Noise

The built-in audio is more than a checkbox. Hisense fits six speakers and up to 66 watts into a Devialet-tuned 4.0.2 Dolby Atmos system with two up-firing drivers. Dialogue is clear, effects have useful width and height, and the PX4 Pro can carry a living room by itself. A separate system still wins on bass depth, scale, and surround precision.

I measured all six sound modes with Room EQ Wizard (REW), a UMIK-2, and the same -25 dBFS logarithmic sweep, first at one meter on-axis and then with Standard at my main seat. Left and right channels played together. The results are comparative and in-room, so they describe the projector, room, and listening position together rather than an anechoic loudspeaker response.

Standard was the least overtly contoured preset and the obvious neutral baseline. Music was the closest alternative, adding a modest 1.3 dB of low-bass after level matching. Theater measured 2.6 dB louder and sounded leaner and slightly brighter. Sports measured 2.8 dB louder, traded some body and presence for 2.7 dB more upper-treble energy, and suited the same visibility-first use case as the picture mode. Speech and Late Night intentionally trimmed the frequency extremes.

Those personalities are adjustable. Each mode stores its own seven-band EQ at 100 Hz, 250 Hz, 600 Hz, 1 kHz, 2.5 kHz, 6 kHz, and 10 kHz, so these measurements characterize the factory settings present during the test. Change the sliders and the ranking can change with them.

At the main listening position, Standard averaged 77.1 dB SPL from 500 Hz to 2 kHz. Above roughly 60 Hz, the 1/3-octave-smoothed response was broadly even, with a 1.68 dB standard deviation from 63 Hz to 16 kHz and a gentle downward tilt in the treble. Bass output fell quickly below about 55 to 60 Hz. That is where a subwoofer or separate system earns its keep. For everyday TV and casual movie watching, the projector's own audio is genuinely useful.

The fan is better in the way that matters. An informal same-distance check showed about a 2 dB difference from the PX3 Pro, though this was not a standardized acoustical test and I did not log weighting, exact distance, operating state, or the room noise floor. The number understates the subjective change. The PX3 Pro remained audible at the same distance, while the PX4 Pro's pitch and tonality let it fade into the room.

Who Should Buy the Hisense PX4 Pro

Buy the PX4 Pro if the room has more than one job but you do not need the L9Q's higher output. It is especially strong at 100 and 120 inches, where the iris can turn extra light into better contrast. At 150 inches, Brightness Enhancer can keep HDR, sports, and games lively.

It also fits buyers who want Dolby Vision, quick VIDAA software, AirPlay, four HDMI inputs, useful built-in audio, and a color-accurate “Theater-family” baseline for movies, television, and gaming.

Recommended starting points

These starting points will shift with UST screen angle, seating height, room reflectance, image size, and sample variation.

Who Should Skip It

Skip it if full-resolution 4K/120 is a core requirement. The PX4 Pro accepts a 4K/120 signal, while the tested image stayed at 60 Hz and visibly lost resolution. Use 4K/60 for image quality or 1080p at up to 240 Hz for speed.

Sensitive viewers should audition it with the intended screen. Single-chip-DLP rainbow breakup and RGB-laser speckle are both visible on it. Buyers chasing the deepest possible black floor should compare dedicated theater projectors, and anyone who wants effortless placement should avoid the geometry demands of UST.

Final Take

Hisense knows UST projectors. That experience shows in the PX4 Pro. It improves on the PX3 Pro with more light, more contrast flexibility, sharper focus, and less commotion, then puts those gains in a compact premium chassis.

The range is what makes it easy to recommend. Accurate modes stay bright. A tiny two-point correction makes grayscale go from good to excellent and barely touches output. The iris turns extra light into better blacks, while Brightness Enhancer gives a multipurpose room a higher gear to shift into. VIDAA is quick, AirPlay is built in, the audio is clear, and the lens focuses sharply.

The L9Q remains the flagship. Hisense rates it at 5,000 ANSI lumens, gives it a 116-watt Devialet audio system, and wraps it in a larger 24.6 x 12.5 x 6.5-inch, 28.4-pound chassis. It is brighter, bigger, heavier, and more expensive.

That output makes a difference with ambient light or a truly huge screen. In a dark room at 100 or 120 inches, the PX4 Pro already has enough light to make contrast and visual comfort the more productive conversation.

The PX4 Pro brings over much of the flagship proposition: RGB triple-laser color, Dolby Vision, IMAX Enhanced, a 200-inch supported maximum, ambitious built-in audio, and polished UST operation. It weighs about 10 pounds less and is far easier to carry. Flagship flavor, smaller footprint.

The L9Q owns the brightness crown. The PX4 Pro gives up full-resolution 4K/120 and still needs the promised anti-rainbow firmware test, but it covers movies, television, sports, and cinematic 4K/60 gaming with unusual confidence.

Start with the accurate baseline. Open the iris, close it, or add Brightness Enhancer according to the room. That range is the PX4 Pro's edge, and it is a big one.

Home theater when you want it, lifestyle display when you need it.