- Author: Alex Luciano Brancale
- Original Link: Passione Videoproiezione (Italian)
- Authorization: Republished with permission from the original author.
- Previous Review: XGIMI TITAN Noir Max 4K Projector Review
After years of limited native contrast in DLP projectors using 0.47" DMD chips (from the 500:1 of the BenQ W1700 to the 1000:1 of the BenQ W5700), and after surpassing 2000:1 with laser/4LED light sources (Optoma UHZ65LV; Benq W4000i), 2026 marks another technological turning point that was first initiated in 2024 by Valerion.
By overcoming the technical limitations of previous generations, the evolution of DMD chips now finds its highest expression in the XGIMI TITAN Noir Max.
Thanks to its RGB triple laser system and sophisticated Dual Iris system, this projector aims to significantly raise the performance bar, effectively representing the relaunch of DLP technology that the market and enthusiasts had been waiting for.
1. Brightness
As seen in the preview test, the XGIMI TITAN Noir Max reaches a peak brightness of 6221 ANSI lumens in Laser 10 Boost mode, with inaccurate colors and a high DeltaE; at Laser Brightness 10, the measured brightness is 4755 lumens. Further details are available in the chart.
- Update 09/05/2026: New lens measurements made it possible to refine the calculation of the effective ANSI lumens in the ISF Night preset (Laser 10), testing the various positions of the static and dynamic iris. For methodological consistency, the 10 Boost mode was not taken into consideration, since the strong color deviation (high DeltaE) prevents its use in Home Cinema applications. The obtained data now guarantees greater accuracy, useful for understanding the real performance of the TITAN Noir Max on large-screen diagonals.
2. Contrast and Dual Iris System
The TITAN Noir Max is equipped with a manual and dynamic Dual Iris system: the manual iris allows adjustment across 5 aperture steps with a corresponding increase in contrast ratio, sacrificing peak luminance depending on the selected aperture, while the dynamic iris constantly analyzes brightness and physically adjusts the diaphragm to achieve optimal dynamic contrast.
The following measurements were taken directly from the 115" ALR Adeo Screen Ambient Grey screen with 0.6 gain.
Changing the laser power does not result in a reduction of on/off contrast; here is a chart showing the behavior of the “ISF NIGHT” preset at different brightness levels, with iris aperture F2 and zoom 1.15 (NIT values measured on my ALR Adeo Screen Ambient Grey gain 0.6 screen). The following chart will soon be updated with black level measurements.
- Update 09/05/2026: To increase the precision of the contrast analysis, I carried out new tests directly on the lens. I compared native contrast with the contrast obtained through DBLE, keeping the ISF Night preset at power level 10 and testing the different iris configurations, both static and dynamic. Measuring directly from the optics allowed me to accurately determine the true potential of the TITAN Noir Max, independently of the characteristics of the screen.
3. Power Consumption
Power consumption is also excellent: here is a detailed view of the “ISF NIGHT” mode with varying iris aperture and laser power.
4. Noise Test
The TITAN Noir Max also passes the silence tests with flying colors, becoming inaudible already at a distance of 1.5 meters. To provide a complete overview, I performed sound level measurements at increasing distances (30, 60, 90, 120, 150, and 300 cm), comparing the results with the ambient background noise in my room (represented by the orange line in the chart).
Regarding noise measurements, the tests were performed exclusively from the front of the projector. I believe measurements from the rear are not very representative and have little practical value: in a realistic installation scenario, the projector will always be positioned above the viewer’s head or behind them. Measuring sound emission from the lens side therefore provides data that is much closer to the actual acoustic perception experienced during content viewing.
5. Resolution
The TITAN Noir Max, equipped with the “X-Master Red Ring Lens Pro” optics and SST DMD chip, delivers high perceived resolution and sharp text, despite showing a very slight close-range SDE. The projector passes the famous “Scooby-Doo rocket launcher” test with excellent results, confirming convincing sharpness management. For more technical details regarding the resolution test, the AV Magazine analysis can be consulted.
Check this: Timelapse test 4K su youtube (Italian)
Well done XGIMI!
6. SDR Calibration
From the standpoint of video controls, the TITAN Noir Max offers a fairly complete calibration package: it includes a 2-point and 11-point white balance management system, accompanied by a CMS (Color Management System) that allows fine-tuning of hue, saturation, and luminance. However, it should be noted that there is no dedicated control for fine Gamma calibration.
Regarding calibration storage, the projector allows the creation of custom user profiles. I configured four for SDR and four for HDR, but I encountered a small logistical limitation: the system does not remember which iris aperture was used for each calibration. I solved the issue by renaming the presets with the chosen aperture value (e.g., “SDR F3”). In this way, recalling settings becomes immediate and error-free, allowing the user to always know which setup is being used.
Below are the SDR calibration charts based on the ISF Night preset. For the test, I set brightness to 10 and iris aperture to F2, in order to maximize luminous flux on my 115” Adeo “Ambient Grey” ALR screen (Gain 0.6), with a zoom factor set to 1.15.
ISF NIGHT preset not calibrated
Analyzing the out-of-the-box preset (not calibrated), an average DeltaE grayscale error of 4.06 can be observed, a value that indicates improvable but already decent fidelity for immediate use. Average Gamma stands at 2.24, maintaining good linearity, while color temperature is slightly warmer than the reference, positioning itself just below 6500K (D65). Primary and secondary colors are already very good with the uncalibrated preset, with an average DeltaE error on the color checker of 2.77.
POST 2-Point Calibration
By adjusting the 2-point white balance, the performance of the TITAN Noir Max makes a clear leap in quality: the average grayscale error achieves an excellent DeltaE of 1.24, well below the threshold of human eye perceptibility. Gamma stabilizes at 2.25, while RGB alignment appears extremely precise, delivering a color temperature perfectly compliant with the D65 standard. Primary and secondary colors are now perfectly calibrated; color fidelity measured through the Color Checker shows an average DeltaE error of 0.88.
POST 11-Point Calibration
11-point fine-tuning further reduces the average DeltaE to an excellent 0.47. With Gamma at 2.25 and perfect RGB alignment, the projector delivers an excellent D65 white point. This result demonstrates the excellent quality of the electronics, capable of responding with extreme precision. Color accuracy improves even further, reaching an average DeltaE of 0.78 on the Color Checker. The perfect conformity of primary and secondary colors ensures excellent and drift-free color reproduction, confirming the quality of the electronics.
Given the quality of the results obtained after 2-point and 11-point balancing, color calibration through CMS was not necessary.
The absence of a parameter for refining Gamma balance should be noted, a detail that would have made the TITAN Noir Max even more complete.
- Update 09/05/2026: I integrated the review with additional tests performed directly on the lens to more accurately verify the performance of the ISF Night profile, iris aperture F2, and laser brightness 10. The measurement chart shows very good factory calibration: Gamma stands at 2.23 and the average grayscale DeltaE is 2.49; primary and secondary colors also demonstrate good accuracy with an average DeltaE error of 2.68. These data demonstrate that XGIMI delivered a well-tuned product capable of offering a balanced image right from first startup.
7. HDR Calibration
TITAN Noir Max features highly efficient dynamic HDR. I tried performing white balance calibration with Dynamic HDR enabled, but immediately encountered inconsistencies, therefore I decided to follow the HDR calibration guidelines without activating this parameter.
TITAN Noir Max is capable of processing the HDR / Dolby Vision standard and displaying clipping almost completely up to 10,000 NIT.
HDR white point calibration was carried out in ISF Night mode (F2, brightness 10), but with one necessary precaution: manually selecting the Rec.2020 color space. By default, the TITAN Noir Max uses the “Original/Native” profile, which does not correspond to a cinematic standard but simply represents the projector’s gamut. Although this color space is incredibly wide thanks to the laser source, only forcing the switch to Rec.2020 allows correct and balanced color reproduction, avoiding oversaturation.
ISF NIGHT preset not calibrated, NATIVE color space
Out-of-the-box, the TITAN Noir Max shows imprecise grayscale balance in HDR, with an average DeltaE well above 3.0 and non-optimal primary and secondary color fidelity. Although the luminance curve faithfully follows the theoretical behavior up to clipping near 10,000 nits, the gamut measured in the CIE triangle is not compliant with Rec.2020 specifications. These data underline the importance of manual user intervention.
POST 2-Point Calibration
The 2-point white balance significantly improved grayscale and RGB balance, although the luminance curve presents a hump between 50% and 70%. Color temperature complies with D65. The CIE triangle, after selecting Rec2020, becomes compliant with the HDR standard.
Once 2-point calibration is completed, the TITAN Noir Max Dynamic HDR can finally operate on a neutral and accurate basis.
POST 2-Point Calibration and “DYNAMIC HDR” activation (120" screen, gain 0.6 in TITAN HDR settings)
Activating DYNAMIC HDR slightly alters the average DeltaE error, increasing it from 1.50 to 1.90; however, frame-by-frame dynamic tone mapping becomes extremely efficient, ensuring very natural HDR content viewing with efficient highlight clipping management. It is a machine suitable for immediate use, ideal for those seeking a good plug-and-play solution, but I am certain it will not disappoint viewing purists either.
HDR Calibration with Custom Curves
As an alternative to Dynamic HDR, it is possible to opt for manual calibration through custom curves tuned for different clipping levels (1000/1500/2000/4000 nit). Below are the charts relating to the 1000 nit calibration carried out in ISF Night mode.
By precisely adjusting the contrast parameter through test patterns from 94 to 1419 nit, I forced the TITAN Noir Max to clip exactly at the 1000 nit threshold, optimizing dynamics for the majority of HDR content currently on the market.
POST 2-Point Calibration
By adjusting screen size and gain parameters in the TITAN Noir Max HDR menu, I set diffuse white (50%) at approximately half of peak luminance (100%), namely 116 nit. This calibration allows for an extremely impactful image without sacrificing highlight detail: in this way, even in content mastered at 1000 nit, elements such as sky and clouds maintain perfect readability, avoiding clipping.
The grayscale already appears well balanced after 2-point calibration; the target luminance curve at 1000 nit is perfectly aligned with the reference.
POST 11-Point Calibration
The transition to 11-point HDR calibration stabilizes the image at reference levels: the average DeltaE error drops drastically, optimizing the rendering of primary and secondary colors. RGB balance and color temperature achieve perfect linearity with respect to the D65 standard, confirming that the TITAN Noir Max, when properly calibrated, can offer HDR reproduction of extreme precision and neutrality.
Whether relying on a calibrator to create custom static presets or preferring plug-and-play usage thanks to Dynamic HDR, the projector offers the right tools to achieve reference HDR viewing.
HDR support is completed by Dolby Vision, available with Bright and Dark profiles, each optimized to offer a different interpretation of dynamic range. However, it was not possible to further analyze the calibration of these presets with graphical measurements, since the current setup based on the Panasonic UB820 does not allow the transmission of Dolby Vision test patterns required for correct measurement with calibration software.
8. 3D Performance
A detail that will delight Blu-ray 3D collectors is the perfect integration of this functionality in the TITAN Noir Max.
In the past I made extensive use of the 3D function on my first 3D projector, the “Optoma HD30,” and later on the Epson “TW9400,” but nothing compares to the TITAN Noir Max, which has incredible brightness available. During the viewing of “Gravity,” the projector’s high brightness delivered an image with a depth and brilliance I had forgotten.
Unlike some problematic models, resolution here does not suffer from halving, offering a compact and ultra-defined image. You can find further technical details on this specific subject at this link (AVS Forum Posts).
9. Bugs and Issues
Perfect in every way? Not exactly. It is necessary to dwell on some pain points which, although already identified, should be resolved with a firmware update expected by the end of April.
(1) RBE Performance & Anti-RBE Noise Issue
At present, activating the Anti-RBE function unfortunately introduces noticeable video artifacts: the result is a marked increase in video noise and dithering, an effect so substantial that it is clearly visible even within the TITAN Noir Max system menus.
Right before publication, XGIMI released corrective firmware that appears to permanently solve the video noise issue. However, at the time of writing this article, the file is still impossible to download through the official channels shared by the company. As soon as the software becomes available for download, I will test its effectiveness and update the review with the new results.
Regarding RBE, the TITAN Noir Max remains a pleasant surprise. While I noticed the rainbow effect on the HORIZON 20 Pro, here the phenomenon is sporadic and much less invasive. Even highly sensitive eyes like mine perceive it only in extreme situations, such as high-contrast night scenes.
For completeness, I should point out that I watch almost exclusively films in their original language with subtitles. For those sensitive to RBE, this is the most severe test, because rapid eye movement between the image and white subtitles enhances the RBE effect. At the moment I already consider the TITAN Noir Max a very “discreet” product in this regard; once the Anti-RBE filter becomes usable without the current dithering defects, performance can only improve further.
Anti-RBE ON (Left) & Anti-RBE OFF (Right)
Video noise detail with Anti RBE Active
(2) Laser Speckle and Image Cleanliness
Moving on to image cleanliness analysis, laser speckle must be taken into account. Although the projector is certified to reduce its impact, pairing it with a high-contrast screen (ALR) such as the Adeo Screen Ambient Grey inevitably emphasizes its visibility in some scenes.
Despite this, compared with the HORIZON 20 Pro, the TITAN Noir Max comes out ahead thanks to more efficient optics: speckle is much less invasive and less “grainy,” making it acceptable most of the time. It should be kept in mind that users of ALR screens should expect a minimal presence of this phenomenon, intrinsic to the color purity of triple-laser systems. I am personally evaluating a sample set of ADEO SCREEN fabrics and awaiting a sample set from WUPRO. I will carry out an analysis of these screens in a separate article.
(3) Autofocus Limitations
On the automation front, autofocus did not fully convince me. As already happened with the previous HORIZON 20 Pro, automatic focus is not flawless, leading me to always prefer manual focus adjustment via remote control in order to achieve absolute precision. I include this among the flaws for the sake of completeness, even though it is a limitation that will hardly affect those who, like me, do not move the projector once installed.
(4) Lens Shift and Optical Precision
The optics and Lens Shift system are precise, but they lack the millimetric feedback that characterized my previous Epson TW9400. Adjustments and zoom are functional for most installations, but for the most extreme micro-positioning, the Epson still remains one step ahead. It is an acceptable compromise considering the TITAN’s other performances, but it is a detail that installation purists should keep in mind.
(5) Subtitle Brightness Fluctuations with Dynamic Iris
A note regarding the dynamic iris: system intervention may cause slight fluctuations in the brightness of white subtitles, which occasionally tend toward gray in low-APL scenes. This is the tangible sign that the iris is working to deliver deep blacks. To make viewing even smoother, my advice is to avoid pure white subtitles, preferring gray tones that are less subject to these luminance fluctuations.
(6) Flickering Issues in Dolby Vision and Dynamic HDR
“Flickering” issues in TITAN Dolby Vision and Dynamic HDR modes: in certain scenes, problems may be noticed during content playback. The issue is known to XGIMI and should find a solution by the end of May.
Conclusion
After weeks of intense testing, I can only be extremely enthusiastic about the TITAN Noir Max. For years I had been waiting for a projector truly compliant with modern HDR standards while also offering convincing Dynamic HDR and full Dolby Vision compatibility. Although the latter may seem like a superfluous detail on machines equipped with excellent internal tone mapping, its presence is a significant added value.
I spent hours streaming series such as “The Pitt,” “The Boys,” and “Young Sherlock,” but it was with physical media that the TITAN Noir Max really showed its teeth. Titles such as “Blade Runner 2049,” “La La Land,” and the recent “Furiosa” are incredible, as is viewing my reference cult films such as “A Fistful of Dollars” and “Jaws.” Furthermore, watching “Gravity 3D” restored an enthusiasm for stereoscopy that I had not felt in a long time.
Coming from years of honorable service with the Epson TW9400, I was honestly hesitant: the market did not seem to offer worthy replacements that did not cost prohibitive amounts. The TITAN Noir Max, however, brought exactly everything I was looking for to the table:
- Brightness: Over 2500 effective lumens once calibrated.
- Color coverage: Full adherence to DCI-P3 and Rec.2020 standards.
- HDR: Efficient Dynamic HDR and Dolby Vision/HDR10+ support.
- Installation flexibility: A high-quality medium-long throw lens combined with essential horizontal and vertical Lens Shift.
- Contrast and Resolution: A real contrast ratio well above 2500:1 that absolutely did not make me miss the TW9400, thanks to the presence of the Dual Iris and convincing dynamic contrast management; also worth noting is perceived resolution practically indistinguishable from native 4K.
I firmly believe and am certain that it will be the projector of 2026.
The DLP revolution has a name, and it is called “TITAN Noir Max”!
Film Screen
And now, here are some photographic examples of the TITAN Noir Max in action.
Technical note: photographs of RGB Triple Laser sources often introduce artifacts or color casts that do not exist in naked-eye viewing. Although the photos show excellent impact, the color fidelity and perceived brilliance seen in person are significantly better than what is captured by the camera lens.
