And this performance is achieved without the image looking unstable or inconsistent. This is due, presumably, to the speed with which the laser light output can adjust to the needs of content. It sure beats the hell out of a sluggish and imprecise dynamic iris system.
Next to impress is the projector’s colour performance. That laser lighting in conjunction with Sony’s Triluminos technology delivers rich colours for all the neon and holographic advertising in Blade Runner 2049’s street scenes. Yet it also copes beautifully with more subtle sequences, such as those in the desert at the film’s beginning, and the orange-drenched Las Vegas scenes.