Christie Boxer, Panasonic PT-RQ50K, Barco UDX, Epson Pro L30000U — 10K to 50K lumen 4K projection for mapping, keynote, premiere, and brand work. Lens kits, edge-blending, media servers, and a tech who has stacked the rig before. 24-hour response.
Mid-bright 4K projectors for ballrooms and theaters, ultra-bright flagships for projection mapping and large-format mainstage, short-throw units for rear projection and tight rooms, plus full lens kits and media server integration. Every projector ships with a lens chosen for the venue and a tech who has stacked the rig before.
Christie Boxer 4K30 and Boxer 4K20, Panasonic PT-RQ50K (50K lumen 4K), Barco UDX-W32. The mapping and mainstage tier — daylight-readable, native 4K, full lens kit.
Panasonic PT-RZ31K and PT-RQ22K, Christie M 4K25 RGB, Epson Pro L30000U. The corporate keynote sweet spot — 20-foot screens in lit ballrooms, native 4K, laser source for instant-on.
Panasonic PT-RZ12K, Epson Pro L25000U, Barco HDX-W22. Film premiere and intimate theater — DCI-P3 color accuracy, calibrated for theatrical playback through the media server.
Christie HS Series and Panasonic short-throw lenses for tight rooms and rear projection behind translucent screens. Useful in gallery installs, sponsor booths, and stage rear-projection where front-throw won't clear the talent.
No substitutions on bid day. The model on the spec sheet is the model on the stand.
Boxer 4K30 (30K lumen native 4K) and Boxer 4K20 are our flagship mapping projectors — laser phosphor source, instant-on, sealed light path. Christie M 4K25 RGB pure-laser for the deepest color gamut on premiere and broadcast work. Full Christie lens kit including 0.8:1 short throw and 8:1 long throw.
PT-RQ50K is the 50,000 lumen native 4K flagship — the largest single projector for outdoor mapping at scale. PT-RZ31K and PT-RZ22K for corporate flagship rigs. PT-RZ12K for film premiere and mid-cap theater. Panasonic ET-D75LE lens range supports throw ratios from 0.6:1 to 14:1.
UDX-4K32 and UDX-W32 for high-lumen 4K mapping work. HDX-W22 and HDX-W18 for theater and ballroom. F90 for compact installs where small form factor matters. Barco Color Calibrator lets us color-match across projector pairs in edge-blended arrays.
Epson Pro L30000U (30K lumen WUXGA) is the value play for corporate ballrooms where the rider doesn't lock to a brand. L25000U for mid-tier. 3LCD source gives strong color reproduction in lit rooms. Compatible Epson lens kit covers 0.65:1 through 4.85:1 throw ratios.
Projector spec sheets list peak lumens. The number you actually get on the screen depends on ambient light, surface gain, and throw distance.
Lumen brackets by room. Dark theater or premiere screening, 20 ft screen: 10K to 15K lumens (Panasonic PT-RZ12K or Epson L25000U). Corporate ballroom with house lights at half, 25 to 30 ft screen: 20K to 30K lumens (PT-RZ31K, Christie M 4K25, Epson L30000U). Outdoor projection mapping at dusk on a building face: 30K lumens per face minimum (Boxer 4K30 or PT-RQ50K), often doubled or tripled with edge-blending. Daylight mapping on a building exterior: scope shifts to LED — projection past noon outdoors loses to LED reliability.
Throw distance and lens choice. Every projector ships with a lens chosen for the venue's throw distance. Short throw (0.65:1 to 1.2:1) for tight rooms and rear projection — fits the projector in a 12 ft to 25 ft throw to a 25 ft screen. Standard throw (1.5:1 to 2.5:1) for ballrooms and theaters — 35 to 60 ft typical. Long throw (4:1 and up) for FOH projection in arenas and big-room corporate — 120+ ft. We stock the full Christie, Panasonic, and Barco lens kits so the lens fits the room without a sub-rental call.
Projection mapping and edge-blending. Multi-projector mapping is one of our core builds. We run Christie Pandoras Box, disguise (d3), or Watchout media servers, depending on the show. The mapping pass happens during load-in: every projector calibrated, content warped to the surface, overlap zones blended, color matched across the array. For complex shapes — buildings, sculptures, irregular geometry — we do a 3D scan or CAD survey first and pre-build the mapping in the shop.
Content load and tech rehearsal. Content load happens during load-in, never live. Color calibration to the venue ambient happens during tech rehearsal. The media server runs redundant playback. Every projector has a hot-spare lens and bulb (or laser engine) within reach. The tech who stacked the rig stays on the floor through strike.
We don't publish a rate card because two events with the same screen size rarely cost the same. What drives the number: lumen bracket (a 50K Panasonic is not a 15K Panasonic), throw distance and lens choice, edge-blending and media server scope, projection mapping complexity (flat screen vs. building exterior), content prep hours, on-site projection tech, and how much load-in lives inside our 24-hour window. Tell us what you're building and we'll come back with a number engineered to it.
Want a directional view before you brief us? Compare with LED walls — for daylight outdoor work, LED usually wins on reliability and brightness-per-dollar.
Our LA dispatch covers every working venue from the harbor up through Pasadena.
A Boxer 4K30 on a corporate ballroom screen is a completely different show file from the same projector mapped onto a building facade.
Every projector ships with the right lens — short, standard, or long throw — pre-fitted to the venue distance. No sub-rental call at load-in. Full service list.
For mapping work, we 3D-scan the surface or pull CAD, pre-build the warp in the shop, and arrive ready to align. The on-floor mapping pass is a tune-up, not a build. How we work.
Send venue, screen size, throw distance, and ambient light. Real bid back inside 24 hours on a business day. Inspired? Let's work together..
We start with surface size, ambient light, throw distance, and content (projection mapping, keynote slides, film premiere, brand visuals). From there we calculate the lumens required — a rule of thumb: 50 lumens per square foot of screen surface for a dark room, 200+ for ambient light, 400+ for daylight. We pair the lumen target to the right projector and pick a lens based on throw distance. The quote follows the projection diagram.
Christie Boxer 4K30 and 4K20 (30K and 20K lumen native 4K). Panasonic PT-RQ50K (50K lumen 4K) and PT-RZ31K. Barco UDX-4K32 and HDX-W22 series. Epson Pro L30000U (30K lumen) and L25000U for budget-tier corporate. Native resolution ranges from WUXGA up to native 4K. We pick the projector by lumen target, throw distance, and the rider — not by what's in stock.
For a dark theater or premiere screening, 10K to 15K lumens covers a 20-foot screen. For a corporate ballroom with house lights at half, 20K to 30K lumens on a 25 to 30-foot screen. For projection mapping on a building exterior at dusk, plan 30K lumens per face minimum, often more. We model the throw and ambient light in our projection software before truck call so we don't ship under-spec.
Yes. Multi-projector edge-blending and warping for projection mapping is one of our core builds — we run Christie Pandoras Box, disguise (d3), or Watchout media servers, depending on the show. The mapping pass happens during load-in: we calibrate every projector, warp the content to the surface, blend the overlap zones, and color-match across the array. Content load and tech rehearsal happen before doors. Compare the alternative on our LED wall page.
Every projector ships with a lens chosen for the venue's throw distance. Short throw lenses (0.8:1 to 1.2:1) for tight rooms and rear-projection. Standard throw (1.5:1 to 2.5:1) for ballrooms and theaters. Long throw (4:1 and up) for FOH-position projection in arenas. We carry the full Christie, Panasonic, and Barco lens kits — no substitution at load-in.
Same business day for any LA-area event with a known venue, date, screen size, and ambient light spec. You'll have a real bid back the same day. Complex projection mapping scopes with multiple projectors and media server work may need an extra 24 hours for the final projection diagram, but a budget range lands same-day.
