Can a Short-Throw Projector Replace a Big-Screen TV?

Can a Short-Throw Projector Replace a Big-Screen TV?

We’ve been talking a lot lately about front projectors versus direct-view TVs in the luxury home market—about the pros and cons of each. In general, the same truths apply now that applied five to 10 years ago: Front projectors are best suited for dark rooms and deliver the best value in screen sizes over 100 inches, but TVs are still the best choice for bright, multi-purpose rooms where you want a clean, all-in-one video solution.

 

One topic we haven’t discussed is how the ultra-short-throw projector fits into the equation. This is a product category that projector manufacturers are positioning to compete directly with big-screen TVs. UST projectors allow you to produce a very large image from a very short distance, oftentimes casting a 100-inch or larger image from less than a foot away. They’re usually designed to sit on a low stand and project the image upward against the wall. So, even though we’re still talking about

sorry (again) about the music

a two-piece solution that requires a projection screen, at least both pieces can be grouped together in one part of the room, more like a big-screen TV.

 

UST projectors are generally brighter than dedicated home theater projectors (ranging from 2,500 to 4,000 lumens), they usually rely on an LED or laser light source to provide a longer life span and instant on/off capability, and they often contain built-in speakers. A growing number even

include Web apps and/or TV tuners to more closely replicate the TV experience. A few examples of UST projectors include Epson’s LS100, LG’s HF85LA, Sony’s VPL-VZ1000ES, and Optoma’s upcoming P1.

Perhaps the most notable UST offering for this discussion is the $6,200 Hisense Laser TV, a complete AV system that includes a 4K DLP projector with a built-in TV tuner and Web apps, a Harman/Kardon sound system with a wireless subwoofer, and a 100-inch ambient-light-rejecting screen. It took a long time for Hisense to actually bring this system to market, but it’s finally available, and the company announced a larger, brighter, HDR-capable version at CES 2019.

 

Clearly Hisense is going right at the big-screen TV market, going so far as to put the word “TV” in the product name (since it includes a tuner, it is technically a TV). And while $6,200 isn’t cheap, it’s far cheaper than any 100-inch TV you’re going to find.

 

But is the Laser TV or any UST projection system really a better option than a large-screen TV? Based on what I’ve seen performance-wise from a couple of these projectors, I’m going to say no. The inherent problem with projectors is that they present an either/or performance proposition: Either you get a great black level to produce the best image contrast in a dedicated theater room, or you get a lot of light output that works in a brighter, multi-use space—but the minute the sun goes down or the lights go out, the contrast plummets. Even the brightest of these projectors can’t compete with an LCD TV, so they can’t do justice to new HDR source content the way even a mid-priced TV from the likes of Vizio or Samsung can.

 

At this moment, you can get a new 2019 82-inch Samsung QLED 4K TV for $4,500. For less than $2,000 you could assemble a good sound system to go with it and enjoy a true multi-purpose AV setup. Admittedly, 82 inches isn’t 100 inches or 120 inches, and prices in the TV market go up exponentially once you hit the 85-inch screen size.

 

So, if you’re thinking about assembling a media room in a multi-purpose space, you need to ask yourself a question: What do I value more, performance or screen size? If you want good performance that remains consistent regardless of room lighting, a big-screen TV is still your best bet. But if your heart is set on a 100-inch or larger screen, then an ultra-short-throw projection system may be the solution to deliver an immersive big-screen experience in a more room-friendly form.

Adrienne Maxwell

Adrienne Maxwell has been writing about the home theater industry for longer than she’s
willing to admit. She is currently the 
AV editor at Wirecutter (but her opinions here do not
represent those of Wirecutter or its parent company, The New York Times). Adrienne lives in
Colorado, where she spends far too much time looking at the Rockies and not nearly enough
time being in them.

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