XGIMI Titan 4K Dual Laser Projector Review

This review of the XGIMI Titan comes from our friend Greg of MondoProjos.com. You can find the original article in French here.

I am closing out the year 2025 with a truly titanic test (that one was indeed an easy pun) by putting the very first professional projector from XGIMI through its paces. This “Pro” model, as you will soon discover, is particularly well suited to demanding home cinema use. Here, there are no compromises linked to the aesthetic codes of the cubic, portable Lifestyle projectors the brand has accustomed us to. The TITAN adopts a radically different approach: a large rectangular chassis, a design clearly intended for fixed installation, and a substantial weight of nearly 11.5 kilograms that immediately sets expectations.

XGIMI has clearly not attempted to downplay the ambitions of this new flagship. The TITAN positions itself as a projector capable of competing head-on with flat-panel displays, particularly in an area that has historically been challenging for front projection: light output.

With a claimed brightness of 5,000 lumens, the XGIMI TITAN is capable of delivering up to approximately 600 nits on screen, a level that places it in a still very rare category within the home projection market. This generous light reserve not only makes it possible to consider very large screen sizes, but also to maintain a credible HDR dynamic range. Of course, raw brightness alone is not enough: contrast, image precision, black level management, and color accuracy must also be up to the task. These are precisely the parameters we will analyze in detail in this final mondoprojos test of 2025.

What Is It?

Until now, the home cinema projector market has largely relied on 0.47-inch or 0.66-inch DMD matrices. These solutions have played a major role in democratizing 4K UHD projection, but they gradually reveal their limitations when targeting very large screen sizes combined with high light output. The new 0.78-inch DMD chip developed by Texas Instruments represents a major technological leap in this respect. Its reflective surface, approximately 2.8 times larger than that of a 0.47-inch DMD, allows it to handle significantly higher luminous flux while maintaining excellent individual control of the micro-mirrors.

In practical terms, this increase in active surface translates into a more stable, more uniform, and above all more detailed image especially on very large diagonals, where smaller matrices can show weaknesses in perceived sharpness. Improved pixel separation also helps reduce smoothing effects and enhances the rendering of fine textures, particularly on screen sizes well beyond 120 or even 150 inches. Combined with XPR technology, this 0.78-inch DMD is able to display all 8.3 million pixels of a 4K UHD image at 3840 x 2160 resolution through ultra-fast mirror shifting. Although sequential in nature, this process is completely imperceptible to the human eye and generates neither visible artifacts nor any loss of perceived resolution.

The evolution of the DMD matrix also benefits contrast performance. A larger surface enables more precise control of reflected light, limiting light leakage and improving the readability of dark scenes. It is on this solid technological foundation that the XGIMI TITAN is built, serving as a true showcase of the Chinese manufacturer’s expertise.

Designed from the outset for very large image projection, the TITAN supports screen sizes ranging from 100 to 250 inches, or up to approximately 6.35 meters in width. Such a range naturally targets dedicated home theater rooms and large spaces, while still retaining enough flexibility for high-end domestic integration. Its laser phosphor light source developed by XGIMI, combined with the 0.78-inch DMD, enables a claimed brightness of 5,000 ISO lumens—firmly positioning it among very high-brightness projectors.

The XGIMI TITAN is also designed to provide full coverage of the DCI-P3 color space. This specification truly comes into its own thanks to support for all major current HDR formats, including HDR10+, Dolby Vision, HLG, IMAX Enhanced, and Filmmaker Mode. The goal is not to deliver an artificially punchy or overly vivid image, but rather a balanced and accurate reproduction that respects creative intent, with controlled highlights, readable blacks, and consistent color rendering across the entire dynamic range.

Video processing is handled in part by XGIMI’s proprietary X1 AI Image Chip. This processor analyzes the projected image in real time to finely adjust sharpness, contrast, and colors depending on the content. The approach is deliberately restrained: limiting pumping effects, avoiding artificial over-sharpening, and preserving overall image stability, while improving the clarity of complex scenes. Finally, the TITAN is also 3D compatible, a feature that has become rarer but is still appreciated by some enthusiasts.

Physical Design

The design approach chosen for the XGIMI TITAN is clearly focused on functionality and permanent installation. The chassis rests on four sturdy metal feet that slightly elevate it from the base, ensuring excellent stability when placed on a shelf or cabinet. These feet are removable, greatly facilitating ceiling installations and allowing for clean, secure integration without unnecessary accessories or aesthetic compromises. This modularity provides genuine installation flexibility, regardless of room type or configuration.

The projector features an optical zoom with a throw ratio ranging from 1.2 to 1.8, as well as a particularly generous motorized lens shift: 100% vertically and 40% horizontally. These adjustments allow precise image positioning without physically moving the projector, thereby avoiding digital keystone corrections. This is a critical point for preserving signal integrity and image quality, especially on very large screen sizes.

The table below provides a clear overview of the projection distances required for different screen sizes.

Connectivity is fully in line with the product’s positioning. It includes two HDMI 2.0 inputs, one of which supports eARC for multichannel audio return, USB 3.0 and USB 2.0 ports, an analog audio output, an optical output, an Ethernet RJ45 port, and an RS232 interface intended for home automation integration. The power supply is built directly into the chassis, eliminating the need for an external power brick and greatly simplifying fixed installations, particularly ceiling mounts.

Despite its ambitions, the TITAN remains relatively compact for its class, with dimensions of 441 x 345 x 158 mm and a weight of 11.5 kg. It can therefore be integrated easily without requiring specialized furniture. In terms of acoustics, the manufacturer specifies a noise level of just 28 dB in standard mode—an essential criterion for home cinema use, where silent operation is a key component of immersion.

The remote control follows XGIMI’s usual design language. It operates via Bluetooth and features backlit buttons, which are particularly useful in dark environments. However, it omits most of the dedicated streaming service shortcuts found on models equipped with Smart TV functionality, such as the Horizon series.

Finally, it is worth noting that the projector also includes physical control buttons directly integrated into the chassis, located beneath the connectivity panel. These allow for basic operation without the remote control, which is always useful during installation or troubleshooting.

Interface

Here, almost all Smart TV features found on XGIMI’s Lifestyle and UST ranges are absent. If you wish to enjoy streaming services with the TITAN, an external source will be required. The projector does, however, include an internal media player capable of reading audio and video files from a USB flash drive or external hard drive.

The menus are therefore entirely dedicated to the projector’s core functions: installation settings (zoom, lens shift, etc.) and advanced image adjustments. Color-related settings are located in the “Brightness and Display” section, which is divided into two submenus. The “basic parameters” include brightness, contrast, saturation, sharpness, color temperature, and frame interpolation, referred to here as motion compensation.

The “professional parameters” menu provides access to all the tools required for precise calibration: color space selection, gamma adjustment, 2-point and 11-point grayscale calibration, dynamic contrast, and laser power management on a scale from 1 to 10. SDR picture modes are labeled: Standard, Film, Vivid, Sports, TV, Filmmaker Mode, and Performance. These modes are also available in HDR, with additional IMAX Enhanced and HDR10+ options, along with Dolby Vision Dark and Bright modes.

Contrast management is particularly comprehensive. It includes local contrast, dynamic contrast, AI contrast, as well as dynamic black enhancement, which provides access to a feature called dynamic black correction. An interesting innovation takes the form of a slider designed to counterbalance color shifts induced by dynamic light output management. Admittedly, there is plenty here to get lost in at first glance, but we will analyze the real impact of each of these functions in detail in the section dedicated to contrast and brightness within the “TECHNICAL VERDICT” chapter.

Finally, for video gaming, the TITAN offers a dedicated interface aimed at reducing input lag, with several specific modes: Standard, FPS, RPG, RTS, and Sports. A gaming-oriented approach that, once again, deserves a thorough analysis in the remainder of this test.

Technical Verdict

Operating Noise and Built-In Audio System

In terms of operating noise, the XGIMI TITAN delivers a particularly impressive performance given its light output capabilities. Measurements taken in the test room indicate an ambient noise floor of 34.3 dB with the projector switched off. Once the projector is in operation, with the laser power set to its maximum level (level 10), the measured noise level rises only to 35.1 dB. In other words, the difference is less than 1 dB an increase that is simply imperceptible to the human ear under normal viewing conditions. This result is all the more remarkable considering that the projector is capable of delivering several thousand lumens. XGIMI has therefore achieved excellent thermal management and ventilation design, allowing the TITAN to remain extremely discreet even at full power. In a home cinema environment, including during quiet scenes or low-volume passages, the projector effectively fades into the background, which is a key requirement for a model intended for dedicated installations.

As for the built-in audio system, the TITAN offers a solution that can clearly serve as a fallback. The integrated speakers deliver clean, intelligible sound with sufficient volume for occasional use, particularly in temporary setups or non-dedicated environments. However, given the image quality produced by the projector and its clearly high-end positioning, relying solely on the internal audio solution would be a missed opportunity. The sound naturally lacks the scale, depth, and dynamic range required to properly accompany very large images and the visual richness of this model. From a coherent home cinema perspective, pairing the TITAN with an external audio system whether a high-performance soundbar or, ideally, a full multichannel home theater setup is an obvious choice in order to fully exploit the projector’s immersive potential.

Power Consumption

No major surprises are to be expected in this area. With the laser power set to its maximum level (level 10), measured power consumption reaches 304.1 W, which is entirely logical given the level of brightness delivered. Reducing the laser power to a mid-level setting significantly lowers energy consumption to 173.2 W, offering a very attractive compromise between brightness, visual comfort, and efficiency. At minimum power (laser set to level 1), consumption drops further to 108.2 W, making the TITAN relatively energy-efficient for a projector in this category. This scalability allows power consumption to be precisely adapted to real-world usage conditions, whether for a very bright HDR projection on a large screen or a more restrained session in a fully optimized dedicated theater room.

Image Precision and Sharpness

Image precision and sharpness are without any doubt among the major strengths of the XGIMI TITAN, and this is largely due to the integration of the new 0.78-inch DMD HEP chip developed by Texas Instruments. This is a very large DLP matrix with a native resolution of 1920 × 1080 micro-mirrors. As with all current 4K DLP projectors, the display of UHD resolution relies on XPR processing, an extremely fast micro-shifting technique that allows the projector to reproduce the full 8.3 million pixels of a 3840 × 2160 image.

The key difference compared with more compact DMDs therefore does not lie in the native resolution itself, but in the significantly larger physical size of the 0.78-inch chip. This much larger active surface enables better spatial separation of the micro-mirrors, more precise control of the light flux, and a reduction in optical interference. The result is an image perceived as more stable, denser, and above all more precise, especially on very large screen sizes where 0.47-inch matrices reach their limits much more quickly.

The examination of 4K test patterns clearly confirms this visual gain. On resolution charts—and in particular the Burosch test pattern the TITAN impresses with the finesse of its rendering of the finest lines. The delineation of numbers, letters, and complex patterns appears extremely sharp, with no smearing or excessive smoothing. Edges are clean and well defined, and legibility remains excellent even at short viewing distances, demonstrating the quality of the coupling between the DMD matrix and XPR processing.

The quality of the optical block also plays a major role in this performance. From one edge of the image to the other, uniformity is exemplary: no loss of sharpness is observed at the periphery, and the image maintains the same level of precision across the entire projected surface. There is no chromatic aberration those unwanted color fringes visible on high-contrast transitions nor any occurrence of laser blur. The latter, specific to certain laser projectors, manifests itself as a slight blur or halo around very fine lines, caused by the coherence of the laser beam and optical diffusion. On the TITAN, these effects are perfectly controlled, with lines remaining crisp and clearly defined.

However, on a very specific test pattern the 4K crossed-line chart the results are more nuanced. As it was not possible to obtain a truly usable photograph of this pattern, the analysis is based primarily on direct visual observation. In this extremely demanding test, the TITAN does not perform quite as well as some very strong competitors such as the Leica Cineplay 1 or the Valérion Max, which retain slightly better legibility on these particular patterns. This remains a highly specific case with no real impact on real-world content. In everyday movie and video use, the image precision and sharpness delivered by the XGIMI TITAN clearly stand out as reference-level within the category of home cinema DLP projectors.

Motion Handling

Despite the integration of the new 0.78-inch DMD HEP chip, motion handling remains an aspect that must be considered carefully on this projector. With native 24p cinematic sources, judder is still clearly perceptible. Slow and steady camera pans, typical of film content, can exhibit micro-stutters and uneven motion that highlight the inherent limitations of DLP projection when motion compensation is not engaged.

Fortunately, XGIMI provides an effective frame interpolation function that is available across all types of sources, whether SDR or HDR. Once enabled, this motion compensation significantly reduces the slowdowns and irregularities observed during camera pans. From the “Medium” setting onward, the improvements are immediately noticeable: camera movements become smoother, more coherent, and far more comfortable to watch, without introducing excessive artifacts. By contrast, the “Low” mode on its own is not sufficient to fully eliminate judder on the most demanding 24p content.

The “High” mode further increases smoothness, but at the cost of a more pronounced soap-opera effect, which can detract from the cinematic rendering and stray from the original artistic intent. In this context, the “Medium” setting clearly emerges as the best compromise. It delivers convincing motion fluidity while preserving image texture and a film-like presentation. Used judiciously, this mode represents the most balanced solution for fully enjoying movies and series on the XGIMI TITAN without sacrificing aesthetics in favor of excessive smoothness.

Input Lag

When it comes to input lag, the XGIMI TITAN shows a very contrasted behavior depending on whether or not the dedicated gaming options are enabled. Outside of specific game modes, the measured display lag reaches 136.4 ms. At this level, it is clearly unacceptable for any moderately experienced gamer to consider comfortable use: such a delay results in very noticeable latency between controller input and on-screen response, making any competitive or reactive gameplay completely unsuitable.

Fortunately, the TITAN includes dedicated input-lag reduction features, and their effectiveness is undeniable. Once these options are enabled, display latency drops dramatically to 32.8 ms with a UHD 60 Hz source. In practical terms, at 60 frames per second, a single frame lasts approximately 16.7 ms. An input lag of 32.8 ms therefore corresponds to a delay of roughly two frames, which becomes perfectly acceptable for casual to intermediate gaming, and even comfortable for the majority of console players. While this does not place the TITAN on par with highly specialized gaming projectors or monitors, the improvement is significant enough to fundamentally transform the gaming experience.

It is also worth noting that the XGIMI TITAN is compatible with ALLM (Auto Low Latency Mode). This feature allows the projector to automatically detect a compatible source typically a gaming console and switch to a low-latency mode without any manual intervention, disabling unnecessary video processing that could increase input lag. This is a welcome usability feature, as it prevents configuration errors and ensures optimal responsiveness as soon as a game is launched.

Finally, the TITAN accepts 1080p signals up to 240 Hz. While such a high refresh rate will primarily appeal to PC gamers who prioritize fluidity and responsiveness, it nonetheless confirms XGIMI’s intention to offer a versatile projector capable of meeting both cinematic demands and modern gaming requirements under serious technical conditions.

Overscan and Gray Border Around the Active Image

Overscan also referred to as cropping describes the practice of slightly trimming the displayed image in order to hide its outer edges. Historically used on televisions to eliminate potential artifacts at the periphery of the signal, this process inevitably results in a loss of information, since part of the original image is simply not shown. In a modern home cinema context, and even more so with a high-end projector, the absence of overscan is an important criterion, both for preserving the integrity of the video signal and for ensuring display accuracy.

In this respect, the XGIMI TITAN is exemplary. No overscan is applied: the image is displayed in its entirety, pixel for pixel, without any cropping or rescaling. All the information contained in the source is therefore projected onto the screen, guaranteeing full respect for the original framing and perfect compatibility with test patterns, UHD content, and computer sources.

The presence of the 0.78-inch DMD HEP chip also brings a very tangible benefit to another aspect often criticized on XPR-based DLP projectors: the well-known lighter gray border that surrounds the active image area. On projectors equipped with 0.47-inch DMD matrices, this peripheral band linked to XPR shifting and residual light leakage can reach approximately 2 centimeters in thickness.

With the TITAN, this border is reduced by more than half, measuring only about 1 centimeter. This represents a clearly noticeable improvement, especially on large screen sizes. Beyond the simple physical reduction, it is above all the better native contrast of the 0.78-inch DMD HEP chip that plays a decisive role. By limiting light leakage and lowering peripheral black levels, this new chip further reduces the visual perception of this lighter band, to the point where it becomes very difficult to distinguish under real-world viewing conditions.

Laser Speckle

Before analyzing the behavior of the XGIMI TITAN, it is important to recall what laser speckle is. It is an optical phenomenon inherent to coherent laser light sources, which appears as a kind of shimmering grain visible on the image surface, mainly on bright, uniform areas. This visual noise is caused by interference between coherent laser light waves after they are reflected off the screen. Depending on the type of light source, the screen material, and the viewer’s sensitivity, speckle can be more or less noticeable and, in some cases, even distracting.

The XGIMI TITAN adopts a very specific light source architecture: it is a video projector using a dual-laser system combined with phosphor wheels. Unlike so-called “pure” triple-laser (RGB) projectors, which rely on three separate lasers for red, green, and blue, the TITAN uses a laser/phosphor combination designed to generate a broad-spectrum white light. This technological difference has a direct impact on the presence or rather the absence of laser speckle.

Pure triple-laser systems employ extremely coherent beams, which inherently intensify interference phenomena and therefore increase the risk of visible speckle, especially on technical or high-gain screens. By contrast, a laser-phosphor architecture such as the one implemented here produces light that is far less coherent. Passing the laser light through a phosphor wheel partially “decoheres” the beam, significantly reducing the interference effects responsible for speckle.

Under test conditions, and particularly in bright scenes where speckle is usually the easiest to detect no trace of laser speckle was observed on the XGIMI TITAN. Bright uniform areas appear perfectly clean and homogeneous, with no parasitic grain whatsoever. This behavior is especially welcome on very large screen sizes, where even minor defects of this type can quickly become noticeable.

XGIMI’s decision to implement this light source architecture therefore proves to be particularly well judged. It allows the projector to retain the key advantages of laser technology high brightness, long-term stability, and wide color gamut while avoiding one of its main visual drawbacks. This effective control of speckle directly contributes to overall image clarity, uniformity, and viewing comfort.

Before analyzing the measurements, it is essential to clarify the test conditions, as they directly determine the reliability of the results especially with a laser projector. All measurements were carried out on a Lambertian white screen with a perfectly neutral 1.0 gain, avoiding any bias introduced by technical screens (gain, tint, or directionality). The probes were aimed at the screen (and not at the lens) in order to measure the light exactly as it is perceived by the viewer. Finally, a Jeti 1501 High Resolution reference spectrophotometer was used to create a spectral profile, which was then applied to a Klein K10A colorimeter for all measurements. This combination of a reference spectro and a profiled colorimeter is, in practice, the only serious methodology for accurately measuring the colors of a laser projector, whose light spectrum is fundamentally different from that of a traditional UHP lamp and can easily invalidate unprofiled measurements.

When it comes to gamut performance, one key point must be emphasized from the outset: the XGIMI TITAN is not a “pure” RGB triple-laser projector. It is based on a dual-laser architecture combined with a phosphor wheel, which has a direct impact on Rec.2020 coverage. An RGB triple-laser system produces extremely saturated and spectrally narrow primaries (red, green, and blue), making it possible to approach and in some cases partially exceed the Rec.2020 color space. By contrast, a laser-plus-phosphor architecture generates a “converted” light output (the phosphor transforms part of the laser radiation) with primaries that are generally less extreme and a broader spectral distribution. This approach is excellent for overall balance and viewing comfort, but structurally less favorable to achieving maximum Rec.2020 coverage. The measurements fully confirm this behavior: in HDR BT.2020 mode, the TITAN reaches 75.39% (CIE 1931 xy) and 84.44% (CIE 1976 u’v’). In other words, it offers solid BT.2020 coverage for a laser-phosphor projector, but it cannot claim a “full” Rec.2020 gamut like some triple-laser models.

On the other hand and this is the most important metric in practical terms for current HDR home cinema the TITAN covers the DCI-P3 color space very extensively. UHDA-P3 coverage measurements reach 95.91% (CIE 1931 xy) and 97.58% (CIE 1976 u’v’), which in real-world use translates into very convincing HDR color reproduction, as the vast majority of HDR masters are contained within a gamut close to P3. This positioning is entirely consistent: XGIMI has clearly prioritized a light source architecture capable of delivering high brightness levels, good long-term stability, and rich color reproduction, while avoiding some of the typical drawbacks of triple-laser systems (more frequent speckle, greater sensitivity to screen characteristics), at the cost of less impressive Rec.2020 coverage on paper.

Finally, there is the issue of out-of-the-box SDR color accuracy, and this is where the TITAN proves more imperfect. Unlike the Horizon 20 series, which could often be used without calibration thanks to its well-centered and consistent factory settings, the TITAN shows more pronounced variability depending on the picture mode selected. Greater deviations in color temperature and gamma are observed, along with RGB balance drift in several profiles. For example, Performance mode should clearly be avoided for cinematic use: average color temperature rises to very high levels (resulting in a cold image), and the gamma curve departs significantly from the target, producing an artificially contrasty and unnatural picture. The Standard / TV / Sport modes also exhibit a cold bias (average color temperatures around 7600 K) and a gamma higher than the cinema target, with color reproduction that would clearly benefit from correction. Filmmaker Mode provides a more coherent base in some respects, but remains imperfect as delivered and does not eliminate the need for adjustment if true neutrality is the goal.

Under these conditions, in the absence of calibration, the most sensible choice is to use the Film picture mode and select the “Film” color temperature rather than “D65.” While this may seem counterintuitive on paper D65 being the reference in practice, on this out-of-the-box TITAN, the “Film” preset is better balanced and more natural-looking than the factory D65 implementation. The result is a more homogeneous, more cinematic, and overall more accurate image, pending a full calibration that will ultimately allow the projector’s full potential to be realized.

HDR and Dolby Vision Management

Before addressing Dolby Vision, it is important to clearly understand how the XGIMI TITAN handles “traditional” HDR formats, namely HDR10 and HDR10+.

HDR10 relies on static metadata: a single set of mastering information (maximum brightness level, average brightness, etc.) is transmitted for the entire movie or episode. This means the projector must apply one single HDR tone-mapping curve, valid both for very dark scenes and for extreme highlight peaks. By contrast, HDR10+ introduces dynamic metadata, applied scene by scene (and in some cases frame by frame), allowing for a more refined adjustment of the HDR curve. However, HDR10+ remains far less widespread than Dolby Vision within the current ecosystem.

HDR measurements show that the TITAN adopts a generally coherent but still improvable approach out of the box. When its DTM (Dynamic Tone Mapping) is disabled, the HDR curve follows the reference up to a certain point and then compresses highlights more aggressively. Once HDR processing is properly engaged (DTM enabled), and even more so after calibration, performance improves significantly. Post-calibration measurements reveal better EOTF tracking, a smoother transition toward clipping, and cleaner handling of mid-tones, all of which enhance the overall readability of HDR content.

It should also be emphasized that the TITAN’s very large brightness reserve plays a key role here. With several hundred nits effectively usable on screen, the projector is able to deliver a far more convincing HDR image than the vast majority of traditional home-cinema projectors. Highlights are clearly visible, specular effects stand out convincingly, and the image retains a true sense of dynamic range—provided that tone mapping is properly controlled.

Dolby Vision

Dolby Vision is built on a fundamentally different philosophy from HDR10. While HDR10 relies on static metadata, Dolby Vision uses advanced dynamic metadata, calculated frame by frame by the studios during mastering. The display device in this case, the projector therefore receives extremely precise instructions on how to adapt each scene, or even each individual shot, to its actual brightness and contrast capabilities. This is what explains Dolby Vision’s frequent superiority in terms of HDR coherence and readability, especially on displays that cannot reach the luminance levels of professional mastering monitors.

Contrast and Brightness

The combined analysis of brightness and contrast is undoubtedly one of the most spectacular chapters of this test, as the XGIMI TITAN represents a clear break from what we have known so far in home cinema projection. The values taken from the measurement table are unambiguous: the TITAN does indeed reach the advertised 5,000 lumens… and goes well beyond that. In Performance mode, the projector peaks at 7,894 lumens, an absolutely extraordinary figure for a projector marketed as a home cinema model. This raw performance, however, comes with an immediate downside: operating noise becomes comparable to an aircraft taking off, and color accuracy is completely off-target, with a color temperature exceeding 13,000 K. This mode therefore has no real relevance for cinematic or domestic video use and should be regarded as a demonstration or presentation mode for very bright environments.

What is truly impressive, on the other hand, is what the TITAN can deliver with usable and accurate color reproduction. In Film mode or after calibration, the projector still exceeds 4,600 lumens, a value I had never measured before on a home cinema projector. This massive light output fundamentally changes the game: for the first time, a projector is capable of delivering an HDR and Dolby Vision rendering that genuinely approaches that of a flat-panel display, with visible highlight peaks, convincing specular effects, and a sense of dynamic range that does not collapse as screen size increases.

Of course, such brightness would be meaningless if contrast did not keep pace and here again, the TITAN delivers a very pleasant surprise. In native contrast, Film mode measures close to 1,800:1, representing a major leap forward compared to XGIMI’s earlier models and clearly placing the brand in a different league. Blacks remain readable, dark scenes retain depth, and the image never feels “flat,” even at very high luminance levels. This is a long way from the brand’s early days in this area.

This solid foundation makes it possible to examine the various dynamic contrast options that XGIMI has implemented on the TITAN. The Dynamic Contrast and AI Contrast functions, whether used individually or together, were measured and analyzed. From a strictly numerical standpoint, they have little to no impact on color accuracy or gamma.

In practice, however, their behavior is more questionable. Dynamic Contrast, when used on its own, tends to crush black levels completely, eliminating shadow detail.

AI Contrast, on the other hand, exhibits an even more problematic side effect: it introduces visible video noise, a kind of shimmering or grain that is particularly noticeable in flat areas and dark scenes. For these reasons, and despite their promise on paper, these two options did not convince me and I personally leave them disabled.

The most interesting option remains Dynamic Enhancement, which offers three operating levels. Unlike the previous two, it does not generate video noise and its effect on contrast is clearly visible. However, it has a direct impact on color accuracy, as clearly shown by the measurements. This option acts very aggressively on the light source: on a fully black test pattern, the laser is completely shut off. When contrast is measured with an integration time exceeding two seconds, sequential contrast values approach the 5,000,000:1 figure claimed by XGIMI. Obviously, a fully black frame in a movie has little practical relevance, and these numbers are more a technical demonstration than a reflection of real-world viewing.

On more representative test patterns—consisting of small white elements on a predominantly black background—I measured a real dynamic contrast close to 4,000:1, without visible brightness pumping. This is where Dynamic Enhancement becomes genuinely relevant. As with the Horizon 20 Max and Pro, this option is accompanied by a color shift, which could have severely limited its usefulness. However, XGIMI has provided an intelligent solution.

The engineers implemented a dedicated adjustment called “Dynamic Black Level Correction,” in the form of a slider ranging from –40 (redder image) to +40 (greener image). This control effectively compensates for the color shifts induced by dynamic laser management—and it genuinely works. Once properly adjusted, this combination makes it possible to benefit from the increased dynamic contrast without completely sacrificing color accuracy.

Finally, there is another particularly exciting way to give the TITAN an image reminiscent of a giant OLED display: pairing it with a low-gain technical screen, around 0.5 or 0.6. Thanks to the projector’s enormous brightness reserve, this solution is entirely viable. The results obtained with a simple Black Series screen from Nothing Projector are nothing short of spectacular: deeper blacks, a clearly increased perceived contrast, and an image density and depth rarely seen in projection. In this configuration, the XGIMI TITAN clearly takes a major step forward and demonstrates that, under the right conditions, it is capable of visually competing with the very best displays on the market.

Subjective Impression

For this subjective section, I took the time to watch 1917 in Dolby Vision, and the experience was nothing short of striking so much so that I felt as if I were rediscovering the film entirely. The XGIMI TITAN does not merely deliver a beautiful image; it offers a level of visual performance that I had never encountered before on a home cinema projector, especially in HDR and Dolby Vision.

One essential point must be made first: the TITAN is already excellent in SDR. The image is clean, stable, and highly detailed, with comfortable brightness, solid contrast, and color reproduction that once properly adjusted or calibrated—allows full enjoyment of traditional Blu-ray and TV content. In SDR, this is clearly a very mature projector, fully capable of competing with the best in the home cinema category.

Where the TITAN truly changes the game, however, is in HDR and Dolby Vision. For the first time with a domestic projector, I had the impression of reaching a level of image quality previously reserved for high-end flat-panel displays. Highlights are genuinely visible, specular effects finally make sense, and—most importantly the image retains real density even in highly contrasted scenes. Unlike many HDR projectors, the image does not collapse, nor does it become dull or “grayish” as soon as the scene becomes more demanding.

This performance relies heavily on the new 0.78-inch HEP DMD chip, which is an absolute pleasure for projection. For anyone who values sharpness, precision, and micro-detail, this larger DMD matrix makes an immediately noticeable difference. Having long been accustomed to lifestyle projectors based on 0.47-inch chips, I clearly felt that the TITAN steps up to a higher level. The image is more defined, more structured, and more stable. The sharpness is superior without ever becoming excessive or artificial.

The TITAN is clearly designed for very large screen sizes. In my own setup, I had to limit myself to a 100-inch image, but it is obvious that the projector still has plenty in reserve. From edge to edge, sharpness is exemplary: no peripheral blur, no focus drift, no loss of precision. Image uniformity is remarkable and contributes greatly to overall viewing comfort.

The brightness-and-contrast combination is undoubtedly one of the most impressive aspects. In iconic scenes from 1917, such as the staircase sequence or the general’s bunker immersed in darkness, the TITAN demonstrates outstanding mastery of dynamic range. Dark areas remain readable and deep, while light sources retain their impact. This ability to maintain both high brightness and strong contrast is exactly what makes all the difference in HDR and Dolby Vision.

It is possible to go even further, as explained earlier, by pairing the TITAN with a low-gain technical screen, which further enhances perceived contrast and brings the image even closer to that of a giant OLED display. But even without this, the results are already highly impressive.

Conclusion

Ultimately, what strikes me the most is XGIMI’s trajectory. From one generation to the next, the brand clearly demonstrates that it listens to the market and to the expectations of enthusiasts—particularly those who appreciate DLP for its precision and image sharpness. With the TITAN, XGIMI no longer merely offers a very good lifestyle projector; it delivers a true high-end home cinema projector, capable of excelling in SDR and, above all, of reaching a level of quality in HDR and Dolby Vision that I had simply never seen before in domestic video projection.

At its price point, I will say it very plainly: I currently see no real equivalent on the market capable of offering such a combination of brightness, contrast, image precision, and HDR/Dolby Vision performance. In my view, the XGIMI TITAN marks a major turning point in home projection.