Editor's Choice Award

Our Editor's Choice award goes to products that dramatically exceed expectations for performance, value, or cutting-edge design.

After a successful history with its M Series projectors, Christie revamped and relaunched the line in early 2022 with the M 4K25 RGB, a 25,000 ISO/22,500 ANSI lumen model with 4K resolution from a 3-chip DLP design with a wide-gamut RGB pure laser light source and a surprisingly compact chassis. The company has since responded to requests for a less bright version for enterprise and rental/staging situations that do not require the M 4K25's high output, launching the M 4K15 RGB in the summer of 2023.

With its 15,750 ISO lumens/14,000 ANSI lumens rating and ability to hit full brightness on a single 120 volt/15 amp power circuit, the M 4K15 RGB also fits the profile to compete effectively in the luxury home theater segment where top models from competitors like JVC and Sony may not offer enough brightness, leaving Barco as the primary go-to brand for really large screens or where more lumens are desired to improve the HDR experience or to perform in high ambient light environments. As an alternative for dark room theaters, the M 4K15 RGB can be mated with one of the company's Ultra High Contrast lenses, whose optics are said to present a huge improvement in contrast over the brand's standard lenses at the cost of some brightness.

ProjectorCentral's review here of the M 4K15 RGB with UHC lens focuses on its application as a high end home theater projector. However, as you will read, it is far from a traditional home theater projector in most regards.

Features

The M 4K15 RGB from Christie is a significant evolution in their M series line of projectors, offering levels of performance and power typically found in much more expensive units. This new redesign is sure to please many in the industry, as well as serious cinema enthusiasts, with its impressive functionality and customization options to fit any application. The M 4K15 RGB's feature set is extensive, allowing users to tailor the projector to their specific needs, whether for a large venue or a private cinema. While some features may be more useful than others depending on the application, all add significant value by expanding the user's capabilities.

Starting with the chassis design, the omnidirectional M 4K15 RGB is a self-contained, liquid-cooled system housing a compact, 3DLP RGB pure laser projector. It weighs 83.8 lbs. and has dimensions of 20.7 x 10.6 x 24.3 inches (WHD) without a lens. Thanks to its size, it can use the same rigging cage for truss mounting as the original M Series projectors. The M 4K RGB Series design also supports interchangeable lenses that are compatible with previous M Series, Crimson, and J Series projectors. These lenses range from fixed, ultra-short throw, and Standard Zoom options to specialty lenses like the aforementioned Ultra High Contrast or High Brightness lenses. For this review, we used the 1.28-1.87:1 ultra-high contrast zoom lens (Model: 163-165103-XX), which is rated to provide a 6,000:1 full on/full off contrast ratio at the expense of up to a 30% brightness loss compared to the 2,700:1 rated on/off contrast ratio with a standard lens. Our measurements confirmed a contrast ratio of 5,465:1 on/off, though with our sample the brightness loss did not reach 30% and it preserved more light than expected. But even at the typical 30% loss Christie expects, given the M 4K15 RGB's impressive brightness, many would consider this a worthwhile trade-off.

Christie's Intelligent Lens System (ILS) automatically recognizes and calibrates the lenses upon installation, correcting for drift in lens adjustments. This feature is particularly useful for recalling various lens positions, offsets, zoom, and focus, allowing for precise alignment and adjustments.

The M 4K15 RGB uses a dust-sealed 3DLP optical engine with 0.95-inch micromirror chips, allowing it to operate without a dust filter while maintaining image quality and color reproduction. This design is said to prevent dust blobs from contaminating the optical light path. The projector's pure triple laser RGB light source is field-replaceable if ever needed and capable of 25,000 hours to half-brightness at 100% laser brightness, or 50,000 hours at 60% laser brightness. The M 4K15 RGB offers exceptional color reproduction and gamut coverage, with Christie specifying 98% of the Rec.2020 color space. Our measurements confirmed this, showing 96.36% xy coverage and 98.12% uv coverage. The pure RGB laser also produces minimal to no laser speckle in content, which largely depends on the screen material. Higher gain screens may show some speckle, while unity or neutral gain woven screens would likely not display any speckle effect.

As mentioned, with its rating of 14,000 ANSI lumens and 15,750 ISO lumens, the M 4K15 RGB is capable of producing an impressive amount of light output, allowing users to illuminate large, immersive screens. What's remarkable is that it can achieve full brightness while operating on a standard 120V line at 12A and a maximum of 1212W, without the need for a 240V line. However, at 12A, one might want to ensure it is on a dedicated line when running at full brightness. For more conservative brightness settings, typical power consumption is ideally around 827W.

Based on our measurements, the M 4K15 RGB easily meets and likely exceeds its ANSI lumen specification, with a measured output of 13,572 ANSI lumens using the specialty UHC lens. This is particularly impressive considering the UHC lens used is rated to reduce light output by up to 30%. These measurements were consistent across multiple tests, leading me to believe that Christie is very conservative in estimating lens light loss and the actual brightness of the M 4K15 RGB. Ultimately, depending on installation and setup, the M 4K15 RGB is fully capable of reproducing HDR while tracking PQ up to or exceeding 1,000 nits. To determine the appropriate lens and throw distance for your preferred screen size you can utilize the ProjectorCentral Christie M 4K15 RGB projection calculator.

The M 4K15 RGB produces very sharp images, although its three DLP micromirror chips do not have a native 4K resolution and instead use rapid pixel shifting to achieve the 3840x2160 onscreen resolution. As is often found with single-chip 4K DLP projectors, this is an implementation where the output from a 1920x1080 HD or 1920x1200 WUXGA resolution DMD undergoes four-phase pixel-shifting. However, Christie applies proprietary technology where the one-half pixel shift for each phase is achieved with an opto-mechanical glass actuator made from very high quality glass that is then controlled by sensors that constantly monitor and apply correction to keep the position with 5% of perfect accuracy.

Consequently, the pixel-shifting is difficult to discern on screen, as the images are sharp and crisp, especially when viewing single-pixel patterns. However, there are instances where a slight shake or shift can be observed, particularly in the menu system, likely due to the pixel shifting. This issue is generally not present in moving content, and viewers would need to focus on very fine or small details to notice it. Additionally, the M 4K15 RGB supports frame rates of 24Hz to 60Hz. When utilizing the company's Mirage and Mirage Pro licenses, it is capable of achieving higher frame rates, ranging from 96Hz to 120Hz at 4K in both 2D and 3D at 60Hz per eye with Mirage, and up to 240Hz-480Hz in HD with Mirage Pro.

The M 4K15 RGB includes a wealth of features for image and installation adjustments, allowing for fine-tuning and pristine content reproduction while ensuring optimal operation. These features include Christie LiteLOC, which is a constant brightness intensity control that increases output to maintain the desired brightness level. Another feature is Boresight, a manual hardware-level adjustment for the focus and alignment of the panels themselves, allowing for perfect focus. Although Boresight is intended to be performed by qualified and trained individuals, using it in conjunction with digital convergence allows for impressively sharp images.

One feature that particularly impressed me is the Horizontal 1D Color Uniformity, which uses a 17-point test pattern for each primary color. This pattern specifies points on the screen to measure luminance, ultimately ensuring proper luminance across the screen. Honestly, I would love to see this feature in every projector.

I also appreciated the Web user interface available for controlling the projector. Anytime a Web GUI is available that allows for direct input of values without needing to pull up an on-screen display, I'm very grateful.

Additional features include Christie Twist, a free software download, with optional versions such as Christie Twist Premium and Twist Pro for remapping pixel locations and performing geometric corrections to the projection location. Users can then utilize features such as Edge Blending and Black Level Blending to eliminate visual differences when using multiple projectors in an array. Mystique Lite is another free software download, with optional paid versions like Essentials, Pro Venue, and Large-Scale Experience Edition. Mystique Lite can utilize a simple off-the-shelf webcam to automatically blend up to three projectors into a single horizontal projector array. This leads into Christie Conductor, another free software that can monitor, manage, and control up to 256 Christie projectors.

The I/O of the M 4K15 RGB is impressively comprehensive, thanks to its use of the all-In Christie TruLife+ electronics feature set. This provides users with all available I/O options without the need for separate input cards or upgrades. It supports a wide range of connections, from simple HDMI 2.0 and DisplayPort 1.2 to HDBaseT and full 12G SDI, which is particularly useful for broadcasting and post-production. Additionally, the M 4K15 RGB includes USB-C, USB, fiber, and 3D sync, ensuring it is fully equipped to meet any possible connection requirements. Unfortunately, the I/O package has not yet been upgraded with a wide-bandwidth HDMI 2.1 connection, though Christie says they have this in the works for 2025.

Lastly, the included remote for the M 4K15 RGB is highly versatile, offering everything from shutter control to enabling PIP and test patterns. It also features a lock function to prevent unintended button presses. My only concern with the remote, which is more of a user issue, is that I often spend a significant amount of time navigating various test patterns. Occasionally, I accidentally pressed the Focus button instead of the test patterns button just below it. The remote is very responsive, so it reacts immediately when the Focus button is pressed. This issue may not affect those who don't frequently use test patterns, but it would be helpful if the Test Patterns button were placed under Zoom or in a different location.

Performance

Color Modes. The M 4K15 RGB does not offer the traditional picture modes that many users may be familiar with. Instead, it provides a highly customizable configuration for colorimetry. The default settings of the M 4K15 RGB present users with Color Spaces and Color Correction Modes, which effectively represent the color gamut and its assigned primaries. These options include Auto Detect, Max Drives (native performance with no correction), Color Temperature, Rec.709, DCI P3 (cinema format with non-D65 white point), DCI P3 (D65), Rec.2020, and Custom. The default corrections are exceptionally well-implemented.

The process of setting up a unit like this involves creating user selectable profiles, which can contain specific information based on the projector use case. Profiles can contain desired color gamut, lens position, zoom and focus settings, brightness, convergence, fan profiles, selected input, etc. The M 4K15 RGB can support up to 10 profiles based on your application needs.

Configuring the primary color settings (Measured Color Gamut Data, or MCGD) and Color correction mode (Target Color Gamut Data, or TCGD) should ideally be performed by qualified individuals, as it requires access to the unit through service interfaces and VNC. Moreover, a projector of this caliber ideally necessitates the use of a 2 nanometer spectroradiometer, such as the Colorimetry Research CR300 or a similar device.

As expected, the M 4K15 RGB offers both standard and advanced functionalities, such as setting peak measured nits for HDR content compression, Gamma functions (e.g., Power Gamma, HDR/PQ with no compression), gamma slopes, black offsets, white level settings, ambient light correction, and more. None of this should come as a surprise.

Viewing the M 4K15 RGB out of the box was a great experience. It displayed no visually apparent issues with color reproduction or accuracy in either grayscale or color tracking. This held true for both SDR and HDR content, ranging from Rec.709 to Rec.2020. While the black floor was slightly higher than I'm accustomed to with the lower-luminance, LCoS-based JVC and Sony projectors I frequently calibrate, the mixed contrast in scenes was excellent. The only thing that stood out to me was a laser speckle effect, which seemed to emphasize the texture of my Stewart StudioTek 130 G4 screen. After viewing content and discussing this with an industry colleague who is also highly familiar with high-end projection, I decided to test various screen material samples to determine whether the speckle effect was due to the projector or the screen itself. This revealed that high-gain screens displayed the speckle effect, whereas it was not visible on lower-gain or woven screens. The visibility of this effect also depended on the viewer's sensitivity, distance from the screen, and whether they were viewing on- or off-axis. Ultimately, using a unity gain screen would ideally produce the best results. Given the M 4K15 RGB's available light output, a positive gain screen isn't really necessary.

The M 4K15 RGB's pre-calibration measurements were excellent, even when using my Colorimetry Research CR250 4nm spectroradiometer. Delta E grayscale errors were within a 1.7 avg to a max of 2.4, and all color spaces tracked very accurately within their defined ranges, including Rec.2020. Most errors averaged between 1.7 and 4dE for saturation sweeps, luminance sweeps, and color checkers. Luminance sweeps showed only slight desaturation in the red and blue at the 5% stimulus range with fully saturated color; all other colors and stimulus ranges showed no desaturation, and the measurements were closely grouped. The higher errors that were present were mainly due to slight over saturation and some hue errors. [DeltaE (dE) is the metric used to determine visible errors. It has been determined that anything over a dE of 3 is visible, anything over 2.3 is a just noticeable difference for trained eyes and anything below 2.3 should ideally not be seen to the eye.]

While the M 4K15 RGB could benefit from calibration, it was close enough that someone could use it without calibration and still be satisfied, though with a projector with this level of performance a calibration would be expected.

I began calibration of the unit measuring the native performance and then creating the target offsets. It was done using the internal test patterns and verified using Calman Ultimate calibration software from Portrait Displays, a Colorimetry Research CR-250 Spectroradiometer, a Colorimetry Research CR-100 Colorimeter, and a Murideo 8K Seven Generator. The results this produced were excellent, bringing the dE down for grayscale to 0.8 avg, with a 1.3 Max, the large-scale color checker down to 0.5 avg with a 2.4 Max, while saturation sweeps and luminance sweeps saw the same level of accuracy with 0.6 avg, 2.3 Max for saturation, and 0.9 avg with a 2.4 Max for luminance sweeps. The only reason the max dE of 2.3 was present was due to green being unable to fully hit its target, which also impacted yellow since only 98% of BT.2020 gamut coverage can be achieved. Virtually no luminance errors were presented by the M 4K15 RGB, and all color spaces tracked essentially perfect for Rec.709, DCI-P3, and BT. 2020 as well as for Rec.709 and DCI-P3 mapped within a BT. 2020 envelope. Normally, I would have continued various other measurements, but I felt that to give it proper attention, a 2nm spectroradiometer would be necessary. Plus, the results it produced were already excellent, it really didn't need much more attention. Therefore, I refrained from taking additional measurements.

During my time testing the M 4K15 RGB, I viewed the unit at various throw distances, projecting both a 100-inch diagonal screen and a 135-inch diagonal scope screen on a Stewart Filmscreen StudioTek 130 G4 projection screen.

The devices I used for reviewing content post calibration were the R_Volution Player One 8K media player, Oppo UDP-203 UHD Blu-ray player, Apple TV 4K, and the Kaleidescape Terra Prime movie server.

4K HDR10 Viewing. The first content I watched was Batman v Superman: Dawn of Justice in 4K HDR using the R_Volution Player One 8K. I paid close attention from the moment the fight against Doomsday began until the end of the movie. The M 4K15 RGB performed exceptionally well, producing excellent shadow detail in the darker areas of the picture where things might typically be obscured. For example, when Doomsday unleashed his first blast, pushing Wonder Woman back just before she leaped forward to attack, the scene still revealed details in the rubble behind her. This level of detail was consistently maintained throughout various scenes during the fight.

What stood out the most was the M 4K15 RGB's ability to accurately reproduce low-luminance, properly saturated colors, as seen in the various shots of the kryptonite spear. Notable examples include when the spear was pulled from under the water and when Lois was preparing to throw it away, which cast a rich, deep green light on the ground. This quality was also evident when Doomsday was impaled with the spear, and Superman pulled himself toward Doomsday. The image remained sharp throughout, with no banding or posterization, even in the smoky environment and the large plumes of smoke that filled the sky.

The next movie I chose to watch in 4K HDR10 was Spider-Man: Into the Spider-Verse, using Kaleidescape. I specifically opted to watch the fight in the collider and the battle with Kingpin because I knew these scenes would make full use of the BT.2020 color space, particularly in the red, cyan, and magenta spectrums.

The M 4K15 RGB did not disappoint, delivering deep, dark, and fully saturated reds throughout the entire scene. Notable examples include when Miles saves Peter from Doc Ock, and when Miles is on the ground during his fight with Kingpin after they fall from the subway cars. Fortunately, during these scenes, I did not notice any speckling or screen texture effects, which as noted can sometimes be visible depending on the screen material and content. One instance where the effect became visible was when the fight was over, and Miles was running along the side of the building, jumping over the train toward the sunset—just before he swung to the crane. Overall, though, the M 4K15 RGB performed exceptionally well, and the image quality was outstanding.

I next watched Aquaman in 4K HDR using the R_Volution Player One 8K. The M 4K15 RGB again did not disappoint with its color reproduction of this movie, which is within the BT.2020 gamut. This was particularly evident during Mera and Arthur's escape from Atlantis. Much of Atlantis is actually rendered in BT.2020, with deep blues and cyans that are visible even in darker, lower stimulus colors. For instance, when the turrets shoot down some of the ships chasing them and they explode with a burst of bubbles, or when they swim into the mouth of the whale to escape, the colors displayed were noticeable in both the whale's mouth and on Mera's outfit.

This color reproduction also extended beyond Atlantis. For example, when Mera and Arthur emerged from the water, Mera's richly saturated outfit stood out vividly.

Skin tones were also rendered very well during the market scene in Sicily. Mera and the market goers had accurate and natural-looking skin tones, while still producing nicely saturated elements in the image, such as Mera's red hair. However, in brighter scenes during Black Manta's attack, some speckle or screen texture was visible, particularly in the clouds at certain points. Given the speed of the scene and the focus on the action, it's unlikely that most viewers would notice this, and one actually has to look for it to see it.

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The last film I viewed in 4K/HDR10 was Inside Out on 4K HDR via the Kaleidescape. I focused on the scene where Joy and Sadness enter the cave to rescue Bing Bong from Jangles. As they enter the cave, the scene pans out to reveal a deeply saturated, low-luminance broccoli stalk, displayed in BT.2020. As the scene progresses and the basement door opens, a deep, lush red appears.

Inside Out serves as an excellent reference for colors that exceed the P3 color space, and the 4K15 RGB showcased these colors beautifully. For instance, the vibrant colors during Rainbow Unicorn's music video, just before Riley wakes up, are rich, lush, and deeply saturated across nearly the entire BT.2020 color gamut. Watching this scene on the 4K15 RGB truly allows one to appreciate the image's full potential.

SDR Viewing. I briefly watched Suits, Season 3, Episode 3 in SDR via Apple TV 4K. I chose Suits because it's a show my wife has been watching lately on our QD OLED upstairs, and I've occasionally joined her for several episodes. As a result, I'm quite familiar with the skin tones of the main characters, such as Mike, Harvey, Rachel, Donna, and Lewis. The skin tones were very accurate and reproduced extremely well. The image was also sharp, with good shadow detail in the suits. Ultimately, the image looked great.

Conclusion

The Christie M 4K15 RGB is truly an impressive unit, considering its overall features, functionality, gamut coverage, and light output, all within what many would view as a compact form factor for such a high output, discrete RGB projector. When compared to other high-end or flagship models from different brands, the M 4K15 RGB stands out, especially given its price point of $51,995 list, plus an additional $9,000 for the Ultra High Contrast zoom lens used here. While this is a significant amount of money by most standards, it actually represents good value within its performance tier. Projection can be an inexpensive or very expensive hobby and once users get upwards of the $30,000 range, prices often jump to dramatically higher prices very quickly, with some models costing upwards of $80,000 to $100,000 or more. Many of these more expensive models are physically larger, may not match the M 4K15 RGB's gamut coverage, have lower lumen output, or require a 220V power line for optimal performance. Thus, the M 4K15 RGB actually offers considerable value for its price.

However, the M 4K15 RGB is not without its flaws. It may display a screen texture or laser speckle effect on higher-gain screens depending on the material. It can also be quite loud, and would benefit from a hush box or being placed in its own room (though its user selectable fan profiles allow you to automatically lower noise at the expense of brightness as the ambient temperature heats up). The unit generates a significant amount of heat, and the on-screen menu may exhibit a visible shake when making certain adjustments. Additionally, the laser power cannot be reduced below 30% brightness. While some of these issues were expected, others were not. Given the trade-offs, many users might be willing to overlook these shortcomings in exchange for the unit's impressive light output, wide gamut coverage, and ability to reproduce 1000 nit HDR, depending on the setup.

That said, this projector may not be suitable for everyone, including myself. Although I find it to be an exceptional unit, it exceeds what I would need for my modest-sized room and screen. However, it could still be used effectively in smaller rooms and with smaller screens, depending on the intended use.

The M 4K15 RGB delivers a fantastic picture with sharpness, detail, and remarkable color reproduction, offering an additional level of depth through its ability to display dark, saturated colors that many other displays cannot achieve. The M 4K15 RGB is undoubtedly a luxury item, but for those who are exploring this price range, it should be considered a top contender due to its exceptional performance, flexibility, and configuration options.

Measurements

Brightness. The M 4K15 RGB is rated for 14,000 ANSI lumens. Measuring the unit in Max Drives with 100% Laser Brightness resulted in our sample's measurements coming in at 13,572 ANSI lumens which is 4% lower than Christie's listed full specification of 14,000 ANSI lumens, and considerably higher than expected given the assumed 30% brightness loss from the use of the Ultra High Contrast lens.

Christie M 4K15 RGB ANSI Lumens with 163-165103-XX UHC Lens

SDR/HDR	100 Laser Brightness
Max Drives	13,572

Zoom Lens Light Loss. The M 4K15 RGB's light loss with the 163-165103-XX UHC lens, when shifting from the widest zoom position to its longest telephoto position, was 33.02%.

Brightness Uniformity. The M 4K15 RGB projecting a 100-inch diagonal image with the 163-165103-XX UHC lens resulted in measured brightness uniformity of 90% in both wide-angle zoom, and telephoto zoom. The brightest portion of the screen was the Top Right, with the dimmest being the Top Left. The difference in brightness on a full white screen was not noticeable.

Fan Noise. The M 4K15 RGB specifications state the sound level to be 46.7 dBA in quiet fan mode and 49.4 in standard fan mode, as measured in a soundproof environment using the industry-standard averaged multipoint measurement. Using Room EQ Wizard software and a Umik-1 microphone, in my theater room with an ambient noise floor of 33.3 dBA, the M 4K15 RGB measured at the following dB in the Quiet, Standard and Performance fan modes at 100% laser brightness. Measurements were taken at a distance of 3 feet.

Quiet Fan Mode:

Front: 45.3
Right: 49.7
Left: 45.9
Top: 46.3
Rear: 49.2

Standard Fan Mode:

Front: 50.0
Right: 56.2
Left: 49.6
Top: 49.3
Rear: 50.3

Performance Fan Mode:

Front: 59.6
Right: 65.3
Left: 60.1
Top: 60.3
Rear: 61.5

Input Lag. Input latency measurements were done in various color correction modes, which proved to have no impact on measurements. The latency performance is low enough for casual gaming, but would fall short for serious competitive gaming.

1080p/60Hz = 34ms
1080p/120Hz = 25ms
4K/60Hz = 34ms

Connections

• 12G-SDI (x4)
• HDMI 2.0 (x2; HDCP 2.2)
• DisplayPort 1.2 (x2)
• HDBaseT
• Fiber (QSFP+) for use with optional Christie Link Transmitter (1 input/1 output)
• 3D sync (in/out)
• Audio out

Calibrated Settings

Due to the nature of how the Christie M 4K15 RGB is calibrated there are no settings to share for this unit. Setup should be performed by an individual familiar with the setup and calibration process and performed with reference grade equipment.

For more detailed specifications and connections, check out our Christie M 4K15 RGB projector page.

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