XGIMI Titan Noir MaxIn‑depth Review

If we use the maximum throw ratio of 2.0, brightness drops by only 10%, down to 3617 ANSI lumens, but native contrast increases disproportionately by almost 50%, reaching 2787:1!!

What is really surprising is that at the f/7.0 iris position, where we would normally expect even higher contrast with the lens at the tele position, we actually see a 27% drop instead. A very strange behavior.

If you look carefully at the measurements, you will notice that they are not linear and do not fully follow the rule we usually expect, where brightness drops progressively as throw ratio increases, while contrast rises accordingly.

In the case of the XGIMI Titan Noir Max, this is not exactly what happens. For example, at the f/4.0 iris position, we actually get higher brightness and lower contrast at a 2.0 throw ratio compared to a 0.9 throw ratio, while theoretically it should be the opposite.

This behavior is most likely related to the dual iris system and the massive zoom lens used in the Titan Noir Max.

The XGIMI Titan Noir Max includes a picture mode that XGIMI calls Performance Mode, and once selected, the power of the green laser increases dramatically. Power consumption shoots up to 350W, the image becomes heavily green-tinted, and the cooling system starts running at full speed.

We are talking about a completely useless mode, whose existence serves only one purpose, allowing XGIMI to advertise 7000 ISO lumens without anyone being able to sue them over it.

A smart move, but one that concerns the competition and marketing, not me and you, the actual users of the projector.

For reference, I measured more than 7500 ANSI lumens in this mode.

I should also mention that all measurements were taken with the laser power set to 10. The Titan Noir Max also includes an additional 10+ laser power setting, which increases brightness considerably, delivering 4470 ANSI lumens at a 2.0 throw ratio and 5020 ANSI lumens at a 0.9 throw ratio.

It increases power consumption by around 50W, but unlike the “Performance Mode,” it does not destroy the projector’s color accuracy, nor does it significantly increase fan noise. It is actually a very usable setting if someone needs maximum brightness for a specific projection scenario.

The drawback is that with 10+ enabled, you cannot use the dual iris system. So this is more of a laser power setting for special occasions, when the user of the XGIMI Titan Noir Max simply needs some raw power from the projector.

One very important thing: the Titan Noir Max does not use any secondary color boosting techniques in any of its white balance modes in order to achieve its high brightness levels. It reaches these brightness levels using pure RGB laser drive only.

This is extremely important, because it means that despite its very high brightness output, it does not sacrifice color accuracy, as would happen for example if yellow or cyan were artificially added between the RGB laser pulses to increase brightness output.

White balance & Colors

I will show you measurements only in Standard mode, changing only the white balance setting, since most picture modes simply use different white balance presets and do not differ significantly from each other.

The following measurement was taken in SDR Standard mode with the Standard white balance selected.

Here, with the Movie white balance selected, which also gives the best result, with a DeltaE 2000 error of only 2.29.

Do not be confused by the large fluctuations you see in the graph. The scale has changed compared to the previous chart, so we are talking about deviations of only around 1%.

This difference exists because the sensitivity of the photodiode changes depending on the wavelength range of the electromagnetic spectrum, in our case, the visible light spectrum. At the same time, the energy levels of the three RGB lasers used to create white are also completely different.

You can clearly see that each color consists of four sub-pulses, each with a different duration and a different pulse behavior pattern.

For the more observant readers, you will notice that these sub-pulses perfectly match the pattern I captured with my camera. Just look carefully and compare the two.

So, what conclusions can we draw from this measurement? I will analyze them in a very simple way so everyone can understand them.

First of all, the RGB sequence frequency is 240 Hz. In simple terms, this means that the three RGB colors appear 240 times per second, one after the other.

However, the duty cycle of the three colors, meaning the amount of time each color actually remains active, is different. The red laser has a duty cycle of approximately 48%, followed by blue at around 26%, and finally green at approximately 24%.

To make this even easier to understand, if we divide one second into 240 segments, each segment has a duration of 4.16 ms. This is the duration of one complete RGB sequence here.

Within these 4.16 milliseconds, the red laser occupies almost half of the total time, around 2 ms, while the blue laser remains active for approximately 1.1 ms, and the green laser for roughly 1 ms.

If we go into a deeper level of analysis, we can see that each color, during its active pulse window, does not appear as a single pulse, but instead as four individual sub-pulses. These are the four peaks you can see inside each color section of the measurement waveform.

So, within every RGB sequence, which as we already explained lasts 4.16 ms, we actually have a total of 12 pulses, four for each color.

This means that each individual color effectively appears 960 times per second, which corresponds to a frequency of 960 Hz. At the same time, all three colors combined appear 12 times within those 4.16 ms, resulting in a total pulse frequency of 2880 pulses per second.

In other words, the actual pulse operating frequency of the RGB laser engine inside the Titan Noir Max is 2,880 Hz, or approximately 2.88 kHz.

So, in every frame we see on our screen, which has a duration of 16.67 ms at 60 frames per second, we actually have four complete RGB sequences.

And if we want to calculate the real number of laser pulses, we must multiply these 4 RGB sequences by the 12 sub-pulses contained inside each sequence, four for each color.

This leads us to the conclusion that, in reality, we have 48 laser pulses per frame.

So the actual RGB laser sequence is not simply operating in a basic RGBRGBRGB pattern as many people assume, but rather in a much more complex structure closer to RRRRGGGGBBBB. And not only that, but each sub-pulse also appears with a different intensity level.

In practice, the pattern behaves more like: RrRrGgGgBbBb. This is what is known as multi-level modulation.

But what happens if we change the white balance setting?

For example, if we switch from Standard to the Movie setting, which as we already saw in the measurements section is noticeably warmer than the Standard mode, let’s see what happens.

Here we can see that the red color now occupies more than half of the total 4.16 ms RGB sequence duration, and as you can clearly see, an additional fifth massive sub-pulse has been added.

This means that while the blue and green channels remain at 960 Hz, the red channel has now increased to 1200 Hz, or 1.2 kHz.

This now gives us a total laser pulse frequency of 3.12 kHz, compared to the 2.88 kHz we measured with the Standard White Balance setting.

Just look at the differences between these two white balance configurations.

With the Movie White Balance selected, I enabled the RBE Reduction mode, and the measurement I obtained is the following.

We now have a doubling of the RGB sequence frequency, with the operating speed increasing from 240 Hz to 480 Hz. This means that we now get one complete RGB pulse sequence every 2.13 ms, instead of every 4.16 ms as we had with the RBE Reduction disabled.

However, the number of sub-pulses has been reduced. We now have 3 sub-pulses for red, 2 for green, and 2 for blue.

This gives us a total of 7 sub-pulses per RGB sequence, and after doing the calculations, the overall pulse operating frequency reaches approximately 3.36 kHz.

So, by enabling the RBE Reduction mode we get a doubling of the RGB sequence frequency, from 240 Hz to 480 Hz, but not a doubling of the total pulse frequency.

Instead, we see a much smaller increase in the overall laser pulse frequency, rising from 3.12 kHz to 3.36 kHz.

But does XGIMI’s Anti-RBE system actually work in practice? Yes, it absolutely does. It reduces the Rainbow Effect to a tremendous degree.

In the screenshot below, you will see three consecutive frames with the Anti-RBE mode enabled and disabled. I think the difference is clearly visible.

Now let’s enable the Anti-RBE mode and see what exactly happens.

The frequency of the red laser pulses doubles, from 240 Hz to 480 Hz, and this is also clearly visible in the photo on the right, which was captured directly from the screen with my camera.

The pulses, which previously had a duration of around 2 ms each, now have a duration of approximately 1 ms.

If you are observant, you will notice that with Anti-RBE enabled, there are no longer 4 sub-pulses inside the main pulse, but only a single one.

Now let’s look at the equivalent red laser measurement from the Aetherion, with RBE Reduction enabled as well. We can see that the frequency here is also the same, at 480Hz, but in this case we clearly still have 4 sub-pulses, exactly like we do with RBE Reduction disabled.

We can also spot two almost imperceptible pulses from the green laser, visible very low at the base of the waveform.

Here, in a direct comparison, we can clearly see the difference in sub-pulses. The Aetherion, despite the doubled frequency, continues to “break” the main pulse into 4 sub-pulses, while on the Titan Noir Max we see only a single main pulse, perhaps with a slight indication at the top of an attempt to split it into two sub-pulses. See for yourselves.

This practically means that, if we also take these sub-pulses into account in our calculations, then the real operating frequency of the red laser on the Aetherion reaches 1.92 kHz, while on the Titan Noir Max it effectively remains at 480 Hz.

To put it simply, with a duty cycle of approximately 50% on both projectors, a higher pulse frequency means only one thing: greater reduction of the Rainbow Effect.

This behavior of the Anti-RBE system on the Titan Noir Max, meaning the reduction of the number of sub-pulses when Anti-RBE is enabled, was consistently present in every measurement I performed, across all colors, both primary and secondary, as well as throughout the entire grayscale range.

In practice, at least to my eyes during real movie viewing, both RBE reduction systems work extremely well, and honestly I cannot see any meaningful difference in rainbow effect reduction between the two projectors.

However, the Titan Noir Max shows a specific behavior that I would never have understood if I had not measured the RGB laser pulse behavior with microsecond precision.

Also, the RGB laser pulse waveform of the Titan Noir Max, when the Anti-RBE mode is enabled, is noticeably unstable compared to the Aetherion. We can see random spikes appearing in areas where theoretically there should be no light output at all.

What we basically have here is a small mismatch between the laser timing and the DMD timing, something that clearly comes from the instability of the laser pulses themselves and not from the DMD chip or the controller.

This slight desynchronization creates some visible artifacts, such as dithering, image noise, and grayscale instability (the grayscale uniformity issue I mentioned earlier in the measurements section), especially in dark scenes where the laser pulses become shorter and the duty cycle smaller.

You can clearly see that some pixels (DMD mirrors) reflect light that is not supposed to be there at all. This is the result of the unstable PWM behavior, especially at low IRE levels and when the Anti-RBE mode is enabled.

Considering that the Hz and kHz frequencies we are measuring in this section are actually very low for modern PWM systems, systems that can easily operate at much much higher pulse speeds, I personally believe this is not a hardware limitation but mostly a software issue.

My guess is that future firmware updates will improve the stability of the laser pulses and probably add more sub-pulses when the Anti-RBE mode is enabled.

At the moment though, the Anti-RBE system is fully usable, and users sensitive to the rainbow effect can safely enable it. The artifacts I described are not strong enough during normal movie viewing to ruin the overall experience.

Just to make this clear, this instability in the PWM behavior of the laser engine also exists even with the Anti-RBE mode disabled, at least compared to the Aetherion MAX and the Valerion MAX, from which I performed exactly the same oscilloscope measurements.

It simply becomes significantly worse, and much more visible as a phenomenon, once the fast PWM mode is activated through the Anti-RBE function. Just an important clarification.

Performance

Lens

Even though the Titan Noir Max is not a smart projector, it features a fully integrated triple TOF system consisting of infrared sensors, laser sensors, and a CCD sensor. We are talking about a complete sensor package that allows the Titan Noir Max to perform auto focus, auto keystone correction, and virtually every type of automatic image adjustment with excellent accuracy.

Let’s start with the lens of the Titan Noir Max. Despite the massive zoom range of this lens, combined with both vertical and horizontal lens shift, its sharpness and focus performance remain at a very high level. In terms of image clarity, I would personally rate it a 9/10, sitting only slightly below what is, for me, the absolute reference, the Horizon 20 Max from the same company that I tested a few months ago.

XGIMI has done an outstanding job with this lens, and anyone with even basic knowledge of photographic lenses will immediately understand what I mean. Designing a lens with a variable throw ratio from 0.98 to 2.0 for a DLP projector, while at the same time maintaining such impressive sharpness consistency across the entire zoom range corner to corner, is already an achievement on its own. (The horizontal color lines are not actually visible in real life and are simply related to the shutter speed of the camera used to capture this screenshot, so just ignore them).

And if we also consider that this lens includes an integrated iris system between its optical elements, allowing the user to affect the f-stop values, while at the same time supporting both vertical and horizontal movement through lens shift, yet still maintaining remarkable optical stability, then we are no longer talking about just another projector lens, but about a genuine engineering achievement from XGIMI.

While testing the projector at different throw ratios and various lens shift positions, I fully expected, and quite naturally, to observe focus inconsistencies from corner to corner, variations in color aberration, and of course significant changes in brightness uniformity. Yet almost none of this happens with the Titan Noir Max lens, or more accurately, it happens to such a small and subtle degree that it becomes practically insignificant. Honestly, this is something that pleasantly surprises even experienced users like myself.

If this lens were a piece of clothing, it would definitely belong to a high-fashion Italian luxury brand.

For me, the lens of the Titan Noir Max is one of the best lenses ever used in a commercial home cinema DLP projector.

Bravo XGIMI, bravo. A lens with such a wide throw ratio range, such extensive lens shift capabilities, and performance at this level, honestly, even with nearly 30 years of experience in home cinema and DCP digital cinema projectors, I could never have imagined that we would eventually see something like this.

If I really want to become a little grumpy here, I would say that the zoom function operates in relatively large motor steps, and there is no micro-adjustment available for precise screen fitting. Consider this also as a small message to XGIMI for a possible improvement in a future firmware update.

Also, let me stay in “grumpy mode” for just a little longer and say that the auto focus system… hmm… once you go beyond roughly 3 meters from the screen, it starts struggling a bit. In most cases, the user will still need to make a small manual adjustment afterward.

Grumpy mode off. Let’s move on.

Motion

The Titan Noir Max, with the latest beta firmware, and I should mention here that I am testing a final production unit and not a beta testing sample, now fully supports 24p playback.

Here you can see the classic RTINGS 24p test clip, which as you can clearly see, the Titan Noir Max passes with complete success.

The projector offers four MEMC options inside its menu: Weak, Medium, Strong, and finally the Original Frame mode, where the Titan Noir Max reproduces the content at its native frame rate, even if that content is encoded at 24p.

I should also mention that even in the Strong setting, the well-known soap opera effect, which many people hate, is almost completely absent.

I would still recommend using the MEMC up to the Medium setting, and of course the Original Frame mode, because in the Strong mode I frequently notice some ghosting, especially around fast-moving objects.

Dual Iris

F/7.0

XGIMI has done an excellent job with the color and white balance management across all positions of the dual iris system.

When we reduce the iris opening in a system where electromagnetic waves of different wavelengths pass through, we are not simply controlling brightness. In reality, the iris also starts behaving like an electromagnetic wave spatial filter.

Besides the beneficial filtering of stray and scattered light, the iris also affects the phase relationships between the three RGB lasers. The result is that by reducing the iris diameter, the white balance of the image can also change, sometimes even quite dramatically.

This is where XGIMI has done a very good job. All iris positions remain almost fully usable without the user needing to make any additional color or white balance adjustments on the Titan Noir Max.

I would even say that, in my opinion, the engineers managed to find a very good balance between all the individual parts that make up the laser optical block of the Titan Noir Max.

The contrast increase when using the dual iris system is remarkable. As soon as you start closing the iris, the result becomes immediately visible and highly impressive.

At the f/2.0, f/3.0, and f/4.0 iris positions, the Titan Noir Max still allows you to adjust the laser power manually, except for the 10+ mode, which only works with the iris fully open at f/2.0.

At the last two positions, f/5.5 and f/7.0, the laser power becomes locked somewhere around 9 and 8 respectively, and the user can no longer change it manually.

Regardless of the brightness measurements you saw earlier depending on the iris position, I will simply say that all iris positions are fully usable. Each user can choose the setting that offers the best image performance for their own room and screen setup.

For example, do not be scared by the roughly 800-900 ANSI lumens measured at the f/7.0 position. With native contrast approaching 9000:1 and such deep black levels, the perceived brightness loss feels far smaller than what a simple 100% white pattern measurement suggests.

Finally, I should mention that this dual iris implementation on the Titan Noir Max does not only massively improve the native on/off contrast and dramatically improve the black level, but also brings a huge improvement in in-scene contrast, the so-called ANSI contrast.

To what extent? Honestly, to the highest level my eyes have seen so far, and yours too once you get this projector in your hands, trust me, on any projector of any price category.

In some scenes, the result is soooooooo good..

Iris : F/5.5

DBLE is XGIMI’s algorithm for dynamic laser dimming, similar to the EBL implementation found on projectors from Valerion and AWOL Vision.

In the case of the Titan Noir Max, besides simply enabling or disabling it, XGIMI also equipped the projector with an extremely useful adjustment control that essentially allows the user to improve, or more accurately correct, the white balance behavior of the projector while DBLE is active.

The more observant users will notice that the menu displayed inside the Dynamic Black Level Tuning setting is intentionally darker in appearance than the rest of the menu, so that it does not affect the DBLE behavior while we adjust it.

As I already mentioned earlier, XGIMI developed its own AI-driven image controller, the X-Vision chip, in order to control the DBLE system. This chip genuinely has AI capabilities, and honestly, it is very interesting to watch it operate in real time.

When you enable it, the projector needs around 3–4 seconds while the movie is playing to analyze the scene data and decide both the level and the method of its intervention. If you then disable it and re-enable it on the exact same scene, it reacts instantly, since it has already stored the scene data, unless in the meantime you changed image parameters such as the laser power or the iris position.

I should also mention that the DBLE implementation on the Titan Noir Max has absolutely nothing to do with what we previously saw on the Horizon 20 Max. Nothing, it is day and night difference.

On the Titan Noir Max, DBLE works exceptionally well. It is subtle, subtitles do not confuse it, and it operates properly in virtually every scene, whether bright or dark.

Its purpose? Of course, to increase the contrast, and honestly, it achieves this in a very impressive way.

It is almost funny to watch a dark scene maintain virtually 100% of its brightness, while at the same time the contrast skyrockets, the black levels become dramatically deeper, and the power consumption drops significantly.

There are no limitations like the ones we have seen on the Valerion projectors regarding which laser power setting you can use while DBLE is enabled.

Of course, the lower you set the laser power, the smaller the operating range available for the DBLE system becomes. For example, if you set the laser power to its minimum level, there is practically no remaining room for DBLE to further reduce the laser output, so in reality you have almost neutralized its intervention capability.

XGIMI has genuinely done an outstanding job regarding the overall cooperation between the iris system, whether dynamic or step-based, and the DBLE algorithm. Depending on the combination you choose, the DBLE automatically adapts its behavior and decides whether it needs to operate more aggressively or more subtly.

For example, if you select the iris at f/7.0, the DBLE behavior automatically becomes much softer, simply because there is no need for heavy intervention anymore. Also, if you enable both the dynamic iris and DBLE together, then DBLE operates very lightly, or sometimes almost not at all, in most scenes.

Overall, there is a really impressive balance here. The number of possible combinations is huge, and the Dynamic Black Level Tuning adjustment that I mentioned earlier does an excellent job if we notice that a specific combination tends to make the image or skin tones appear slightly cooler or warmer.

One combination that I personally liked a lot was using the iris at f/4.0, which still allows full manual control over the laser power, combined with DBLE enabled.

If you really want to get shocked and see contrast and black levels that in some dark scenes can feel even better than a JVC projector, then the combination of iris f/7.0 + DBLE ON is an absolute killer setup for dark scene performance.

This is the fully open f/2.0 iris compared to f/7.0 + DBLE ON. The difference is really impressive.

Are there artifacts while DBLE is working? Yes, of course. Some occasional color drifting and a bit of highlight clipping will appear here and there, and if you are very observant, you will notice them.

Also, in some rare occasions, horizontal flashing lines can appear, almost as if something strange is happening with the horizontal resolution and the rolling buffer frame refresh behavior.

But honestly, nothing serious. For me, this algorithm works surprisingly well overall.

How does it compare to the EBL implementations from Valerion and AWOL Vision?

I would say that the DBLE system is slightly behind them, not in terms of how well it controls the laser behavior or how much it increases the contrast, but simply because the artifacts are definitely more frequent and more visible compared to what someone will encounter on Valerion and AWOL Vision.

That is my honest opinion.

The only real drawback appears when we use DBLE together with the Anti-RBE mode. Interestingly, when enabling Anti-RBE, a pop-up appears saying that DBLE was automatically enabled as well for a “better viewing experience.” Kind of weird, right?

With this combination active, we can sometimes see some pretty strong artifacts, usually in scenes with very large brightness gradations.

Can you see the pink posterized sky in the background? Anti-RBE enabled on the right.

If not, here is a magnified view where you can probably see this phenomenon much more clearly. This artifact appears quite often with this specific combination enabled.

So, conclusion: DBLE together with Anti-RBE is something you should absolutely avoid.

As a general conclusion, I would say that with its dual iris system and this specific DBLE implementation, the Titan Noir Max has all the tools needed to officially become the new contrast king of the DLP category.

Actually, I would go even further and place it right behind the latest JVC D-ILA projectors across all projector categories in terms of contrast performance, and honestly, I think that says everything.

HDR – Dolby Vision

Back in my village, they say that HDR and Dolby Vision need three basic ingredients in order to become a successful recipe for movie playback.

Brightness, contrast, and good dynamic tone mapping.

Guess which of these the Titan Noir Max has. Come on, it is not difficult. Of course, all three.

The HDR dynamic tone mapping of the Titan Noir Max works well and corrects the EOTF nicely.

Unfortunately, just like on the Horizon 20 Max that I tested recently, it is also quite aggressive when it comes to very bright gradations. I do not know, perhaps this is done intentionally in order to impress the viewer? Who knows.

Some highlight gradations at the top end appear compressed, and as a result, some fine detail that could otherwise be visible ends up getting lost.

3D

WOW, WOW, just WOW. You already know that I am a huge fan of 3D projection, and guys, the Titan Noir Max is the real deal. As far as 3D projection is concerned, this is simply the best projector money can buy, period.

I honestly do not know if I can fully transfer my excitement through written words, but I will try. Until today, I believed I had already experienced the best 3D implementations ever made, with the latest and greatest being the Aetherion MAX (before the latest firmware ruin it). Ladies and gentlemen, I had seen absolutely nothing, NOTHING.

The Titan Noir Max takes 3D projection to a level that no 3D enthusiast can truly imagine until experiencing it firsthand.

I will tell you just this: it is the first time that I watch a 3D movie and the 3D glasses completely disappear from the equation. The synchronization between the projector and the glasses is so perfect that even the slightest discomfort, the slightest feeling that something exists between your eyes and the screen, simply vanishes.

What the Titan Noir Max achieves here is unbelievable, truly unbelievable. It is the first time I watch a 3D movie and completely forget that I am even wearing 3D glasses. There is zero fatigue, zero discomfort, and you can literally watch 3D movies one after another for hours.

The depth and sense of dimensionality created by such a refined and bright 3D image feels almost unreal, genuinely unreal.

And it is not only the 3D performance, it is the colors! The colors, the white balance, the dark details, the gamma, everything feels extremely close to perfection during 3D playback on the Titan Noir Max.

Forget everything you knew until today about 3D projection. Forget every previous 3D experience you had. Put all of it aside. The Titan Noir Max comes here to change everything.

I am honestly putting aside every other strength of the Titan Noir Max, its incredible contrast, its sharpness, its brightness, EVERYTHING. If you are a fan of 3D projection, this projector is worth buying for its 3D performance alone. And if you are not already a fan of 3D, then buy the Titan and start watching 3D movies immediately.

The Titan Noir Max gets a 10/10 in 3D projection performance. The next best projector I have seen in 3D performance, and I am being generous here, would barely get a 4/10.

But…(why ALWAYS have to be a but??That’s not fair..)

There is, however, one huge drawback here, and that is the motion performance.

The Titan Noir Max does not (why XGIMI??) perform the well-known 5:5 pulldown, where a 24p signal is multiplied and displayed at 120 Hz. Instead, it first performs a 3:2 pulldown, converting the original 24p signal into 60 Hz for each eye, and only after that does it continue with the rest of the 3D processing chain.

In other words, XGIMI gave users the option through the MEMC menu to achieve proper 24p playback for 2D content with the latest beta firmware, but left 3D playback completely on its own.

And this brings us to a truly frustrating conclusion. While the 3D projection quality of the Titan Noir Max is genuinely the best we have ever seen on a projector, the motion performance in 3D 24p playback is simply terrible.

Although, to be fair, there is also the possibility that this limitation comes directly from Texas Instruments and the underlying SST platform itself or the Mediatek SoC. At this point, I simply do not know.

Two strange things I want to mention here.

First, the motion performance on SBS 1080p files is noticeably better than on frame-packing Blu-ray 3D playback (properly 5:5 pulldown?).

Second, the strange pink posterization issue on skies that I mentioned earlier suddenly appears in some SBS 3D movies I tested, even though neither Anti-RBE nor DBLE was enabled.

Strange, really strange.

But here at Projectorjunkies you already know that we like to verify what we see with actual measurements and testing, and that is exactly what we did at this stage of the review as well.

I created a simple 5-minute 3D test clip that allowed us to directly evaluate the isolation between the two eyes performed by the 3D glasses. The concept was very simple: the right eye displays only 100% green, while the left eye displays only 100% red. That’s it.

By alternately closing each eye, you should see only one of the two colors, without any artifacts at all, exactly like displaying a full solid color pattern in normal 2D projection.

Anything else means there is a synchronization problem.

This is the clip.