Samsung originally released its Premiere LS9T in 2020, which served as its flagship UST device for several years. Recently, the company introduced an updated version for 2024. While retaining the same design and similar features, the Premiere 9 delivers significant brightness and a robust audio system that is sufficient for standalone use. Additionally, it boasts impressive gamut coverage, Samsung's Gaming Hub, and ambient modes, offering a compelling feature set for prospective buyers. However, these features may not be enough to justify the $5,999.99 price tag compared to other available options.

Features

The Samsung Premiere 9 (LPU9D) is the long overdue successor to the Samsung LSP9T UST that ProjectorCentral reviewed in November of 2022. The Premiere 9 is Samsung's flagship UST projector in their Premiere line, which also includes the Premiere 7. It retains the same styling and design as its predecessor.

The Premiere 9 is a UHD 4K (3840x2160) projector that uses two-phase pixel-shifting DLP technology and an RGB laser light source. With a Texas Instruments 0.66-inch DLP micromirror chip, it is capable of fully resolving 4K UHD signals with support for HDR10 and HDR10+, delivering exceptionally sharp and crisp images. Fortunately, I noticed only minimal rainbow artifacts from the DLP technology in the Premiere 9, visible only on small highlights when quickly scanning my eyes across the screen. However, users sensitive to the rainbow effect inherent in some DLP projectors should be aware that they may experience this effect with the Premiere 9.

The Premiere 9's light source is a triple RGB laser, delivering impressive color gamut coverage and light output. This solid-state light source ensures up to 20,000 hours of viewing enjoyment. According to Samsung, the Premiere 9 covers 154% of the DCI-P3 color space. However, when measuring practical gamut coverage rather than native gamut specifications, our tests revealed strong performance across all color gamuts, though with less than stellar color accuracy.

The Premiere 9 achieved 100% coverage of Rec.709, as expected. For DCI-P3, it measured 98.01% in xy and 99.26% in uv. For BT.2020, it achieved 93.34% in xy and 94.52% in uv, which is overall excellent. It is worth noting that the Premiere 9 tends to heavily desaturate colors at lower luminance levels, a trend observed up to 20% luminance. This desaturation can affect the accurate rendering of darker content within the BT.2020 color space, where many movie scenes are characterized by subtle, darker hues.

Despite this, the RGB laser light source in the Premiere 9 excels in providing impressive color gamut coverage. Another observation is the presence of minor laser speckle, though it is not significant enough to detract from the overall viewing experience.

Samsung rates the Premiere 9 at 3,450 ISO lumens, a significant step up from its predecessor's 2,800-lumen specification. While the Premiere 9 can achieve impressive brightness, even on negative-gain ALP/CLR screens (typically in the 0.6 to 0.8 gain range), it is noticeably dimmer in more accurate picture modes such as Filmmaker and Movie. To achieve maximum brightness, the user must enable the Peak Brightness setting. However, this mode is less accurate and locks the projector into its native gamut coverage.

Furthermore, the Premiere 9 has a relatively low native contrast ratio for FOFO (full-on/full-off), measuring at 1,805:1. This limitation is noticeable in content, but enabling the Contrast Enhancer on High significantly improves perceived contrast, enhancing the overall viewing experience.

The Premiere 9 has a throw ratio of 0.189:1, allowing it to project 100-inch, 120-inch, and 130-inch diagonal images from distances of 4.4 inches, 7.7 inches, and 9.4 inches, respectively. I found these measurements accurate when setting up the unit to project onto my motorized, floor-rising Elite Screens Kestrel Tab-Tension 2 CLR lenticular ALR screen. This range of screen sizes is impressive, especially given the shorter throw distance compared to many other UST projectors on the market. However, it is slightly smaller than some of the latest UST projectors, which now support screen sizes of up to 150 inches diagonally.

The Premiere 9 retains nearly the same dimensions and weight as its predecessor. Weighing just 25.6 lbs and measuring 21.7 x 5.6 x 15.1 inches (WHD), it takes up minimal space. The unit features adjustable feet near the front to assist with alignment to the desired projector screen. Additionally, it offers 4- and 15-point keystone geometric correction. While these features are available for convenience, it is recommended to avoid using them to maintain the integrity of the projected image. To plan ahead you can visit the ProjectorCentral Samsung Premiere 9 Projection Throw Calculator.

The most significant feature of the Premiere 9 is its use of Samsung's Tizen OS, which is robust and highly functional. Most UST projectors on the market rely on some form of Android, which is generally reliable and familiar. However, Android can exhibit quirks depending on how it is implemented. Samsung's choice to use Tizen OS—a system it has featured in its display devices for quite some time—is a refreshing change.

To access the system's smart platform, users must have a Samsung account, which is free to create. Without an account, users cannot access any of the smart platform features or apps, including popular services like Netflix, Disney+, and Prime Video. One standout feature is Samsung TV Plus, the company's IPTV service, which is the best I've encountered compared to offerings from other manufacturers. Users also gain access to Samsung's Game Hub, which enables streaming games from services such as Xbox, Luna, and NVIDIA GeForce Now. With a compatible controller—like a PS5 or Xbox controller—users can start gaming, provided they have access to a service like Xbox Game Pass.

Although the Premiere 9 isn't optimized for gaming due to its relatively high input latency, the inclusion of this feature is impressive. It allows for casual gaming without needing external devices such as a console or PC.

Tizen OS also offers access to multiple voice assistants, including Alexa and Samsung's Bixby. It integrates with SmartThings, enabling centralized control of devices like lights, thermostats, and other connected systems. Additionally, AI features like 4K AI upscaling and Intelligent Mode enhance the viewing experience. Intelligent Mode includes Vision Booster, which increases color saturation, brightness, and contrast. While I personally find Vision Booster too far removed from color accuracy, it's a useful option for those who prefer it.

Another feature, Ambient Mode, allows users to display images such as clocks, fireplaces, artwork, and more when the projector is not in use. For those already invested in Samsung's ecosystem, these features are even more valuable, as Galaxy devices interact seamlessly with the projector.

As previously mentioned, the Premiere 9 is not designed for gaming, despite offering access to Samsung's Game Hub—a feature that feels like a missed opportunity. However, the Premiere 9 does include Game Bar, which provides access to several useful features, including Game Motion Plus for smoother gameplay with lower latency, Mini Map Zoom, Ultra-Wide View for gaming in a 21:9 aspect ratio, and HGIG, which disables tone mapping to allow system-level tone mapping by game consoles.

Unfortunately, the Premiere 9 cannot accept a 120Hz signal, even at 1080p resolution, meaning it supports a maximum refresh rate of only 60Hz. Additionally, its latency is relatively high, with measurements as follows:

1080p / 60Hz: 57 Off / 74 Level 1 & 2
4K / 60Hz: 57 Off / 74 Level 1 & 2

When Game Motion Plus was enabled to either Level 1 or 2 it appeared to provide higher input latency though the measurements did fluctuate some, either way the measurements are much too high for competitive gaming as it will be noticeable even if only playing casually.

The Premiere 9 features an excellent integrated sound system with support for Dolby Atmos and Samsung's Q-Symphony, which enables audio playback from both the integrated sound system and a Samsung soundbar. It uses 40W of power in a 2.2.2 channel speaker configuration, featuring two up-firing speakers and built-in woofers. When not employing Dolby Atmos, Samsung's Object Tracking Sound delivers a rich audio experience that is impressive and sufficient without the need for an external AVR, AVP, or soundbar. However, using such external devices can provide a more immersive and engaging audio experience.

The rear I/O of the Premiere 9 is nearly identical to that of its predecessor. It features three HDMI 2.0 inputs, with eARC available on HDMI 1, as well as a USB 2.0 Type-A port (5V, 0.5A), an S/PDIF (optical) output, a LAN port, an Ex-Link port (Samsung's connection type for RS-232), and a switch to enable or disable the unit's microphone. Additionally, the device supports Wi-Fi 5 and Bluetooth 5.2.

The included remote is compact and sleek, offering quick navigation to apps such as Netflix, Samsung TV Plus, Disney+, and Prime Video as well as voice control via its embedded microphone. It is rechargeable via solar or USB-C port. My only complaint about the remote is that there is no dedicated input button to switch between HDMI inputs.

Performance

The Premiere 9 offers a total of four picture modes, each with separate memory settings for SDR and HDR. These picture modes are Dynamic, Standard, Movie, and Filmmaker. Although the modes use the same naming conventions for SDR and HDR, they are not shared. However, HDR and HDR10+ do share the same picture mode settings. This means users can have separate settings for SDR and HDR within the same picture mode, while HDR and HDR10+ share identical configurations. I'm always glad to see this, as many USTs on the market require users to switch between different picture modes to maintain calibrated settings for SDR and HDR.

The picture modes for SDR and HDR function similarly but have some limitations in the Dynamic and Standard modes. Dynamic and Standard modes are generally very cool out of the box (OOTB), with a noticeable blue bias in the image. Dynamic mode restricts users to Standard and Cool color temperatures, removing access to Warm 1 and Warm 2, and it also disables the 20-point white balance adjustment. Standard mode has fewer limitations, as it only lacks access to the 20-point white balance adjustment; all other settings are available. Movie and Filmmaker modes provide full access to all controls.

The controls available are quite comprehensive, allowing users to adjust grayscale (via 2- and 20-point adjustments), color temperature, and color management across all picture modes. The exception to color management system (CMS) adjustments occurs when the Native gamut is selected. In this mode, no correction is applied, and the Premiere 9 displays its raw gamut and color performance. This setting is typically not recommended for regular viewing unless an external device is used to manage color adjustments. Additionally, all picture modes include access to the Peak Brightness setting. When enabled, this boosts luminance output but locks the unit into its Native gamut.

The Color Management System (CMS) used in Samsung devices differs from what many users may be accustomed to seeing or using. Within the CMS, users are presented with adjustments for red, green, and blue. These adjustments function in relation to the color gamut, allowing users to push or pull the target color in the desired direction. While the system may initially seem unfamiliar, it becomes quite intuitive once users understand how it works.

Fortunately, the controls perform well, as the Premiere 9 requires calibration to achieve an accurate picture. Although some points within the color mapping exhibited larger errors, the CMS successfully mitigated some of the existing issues.

The gamma options available are 2.2 and BT.1886 for SDR, with a slider that allows adjustments in increments of 1, ranging from -3 to +3, to fine-tune the gamma curve. For HDR, the gamma options of ST.2084 and HLG standards are provided, both of which also include the same slider scale. In most cases, users will not need to adjust the gamma, though if one does, they ideally would not be more than +/-1.

The OOTB of our sample performance was decent, but it was clear that adjustments were needed for both SDR and HDR. Depending on the picture mode selected, the image was either too cool or too warm. Additionally, it was noticeably oversaturated, partly due to the Intelligent Mode Vision Booster, which needed to be disabled. The Premiere 9 would benefit from a proper calibration if a user desires more accuracy and wants to tone down some of the over saturation present.

For OOTB viewing, I recommend starting with the Movie or Filmmaker picture modes for both SDR and HDR. If you prefer a brighter display, the Standard mode is a viable option after setting the color temperature to Warm 1 or Warm 2. To address oversaturation, lowering the color setting to a value of 21—or adjusting it to your preference—can be helpful. Additionally, for HDR content, the Contrast Enhancer should be set to High.

I began calibration of the Premiere 9 using Calman Ultimate calibration software from Portrait Displays, a Colorimetry Research CR-250 Colorimeter, a Colorimetry Research CR-100 Colorimeter, and a Murideo 8K Seven Generator. The Premiere 9 was calibrated to 120-inch diagonal on an Elite Screens Kestrel Tab-Tension 2 CLR lenticular ALR screen, which has a 0.6 gain.

Starting with SDR, pre-calibration measurements had large dE (DeltaE) errors. (DeltaE is the metric used to determine the visible error. 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.) Grayscale pre-calibration measurements of Filmmaker mode had dE errors with an average of 3.7dE and 6.3dE max. Saturation sweeps at 20% for Rec. 709 color space had errors with an average of 3.8dE and a 5.8dE max. I ran a small pre-calibration color checker and the results showed an average of 4dE with a max of 7.3dE. (The CalMAN ColorChecker measures accuracy on a wide range of color swatches corresponding to skin tones, blue sky, etc.)

Utilizing the provided Color Temperature adjustment, 2-point gain and bias controls for adjustments I targeted the production industry standard D65 neutral gray white point. Afterwards, I performed a full CMS (color management system) calibration for the RGBCMY primaries and secondaries.

Post calibration errors improved but exhibited some higher errors due to magenta being so far off initially. Running the extensive color checker of 150+ patterns resulted in an average of 3dE. The grayscale measurement for SDR measured an average of 0.8dE with a max of 1.6dE, greatly helped in pulling in and correcting the hue in skin tones.

HDR also improved with better grayscale performance with an average of 1.7dE, and a 5.2dE avg in color, though with a fairly large max of 12dE due to magenta, green and red tracking. Red particularly was off still over saturated most notably around the 75% stimuli saturation points.

The device I used for reviewing content post calibration was an Apple TV 4K.

1080p/SDR Viewing. I decided to watch The Witcher Season 2, Episode 3 in SDR via the Apple TV 4K. The episode begins with Ciri training in the courtyard of Kaer Morhen. Her skin tone looked natural during the training scenes, and close-up shots showcased sharp details in her face and hair. As the scene progresses, Geralt and Ciri make their way inside Kaer Morhen. During Lambert's joke, the hall is well-rendered, with vibrant colors in the firepit and impressive shadow detail in the backdrop of the hall. Later in the episode, during the mage council scene, the Premiere 9 once again delivers accurate skin tones and excellent detail in the intricate clothing worn by the characters. Overall, the Premiere 9 performs exceptionally well with SDR content, producing a rich, sharp, and detailed image.

4K/HDR10+ Viewing. I began reviewing HDR content by watching The Rings of Power Season 1, Episode 5 in HDR10+ on an Apple TV 4K. The scene I focused on was the Orcs' night raid. This particular scene is fairly low in Average Picture Level (APL) and can exhibit rainbow artifacts during certain portions.

While viewing this on the Premiere 9, I did notice a hint of rainbow effects when Arondir was on the roof, looking out into the distance and spotting the torches appearing in the dark. Although the effect wasn't extreme, quickly shifting my eyes across the screen made it visible. Initially, the native contrast appeared quite low, resulting in a washed-out, milky look to the image. However, once the Contrast Enhancer was set to "High," the image improved significantly, gaining depth and clarity.

Later in the scene, when Bronwyn lights the cart on fire, the flames clipped noticeably, appearing overly white and lacking the vibrant color I had expected. This occurred regardless of whether Static or Active Tone Mapping was enabled. Despite this, the overall image quality was quite good, and with proper setup, it delivered a great viewing experience.

4K/HDR Viewing. Next, I watched Deadpool and Wolverine in HDR on the Apple TV 4K. During the opening scene set to "Bye, Bye, Bye," there was noticeable oversaturation in Deadpool's suit, which was also evident in the title logo. However, other aspects of the scene were well-presented. The background was rendered effectively, and the yellow in the Wolverine text looked vibrant and accurate.

The TVA's suits, with their distinct orange accents, appeared slightly off. The orange was too bright in terms of luminance and had an excessive red hue. This oversaturation of red also affected skin tones, making them appear unnaturally warm. While the movie didn't look bad overall, the excessive red tint was noticeable and slightly detracted from the viewing experience.

Conclusion

The Samsung Premiere 9 has the potential to be an excellent UST projector but is hindered by its color accuracy and high price. It boasts a strong feature set, thanks in part to the Tizen OS, which provides access to numerous features and applications, including the exceptional Samsung TV Plus—arguably the best IP-based built-in TV application that I have used. Additionally, it includes access to the Samsung Gaming Hub, offering a wealth of content for gamers, particularly Xbox users with Xbox Game Pass. However, its high latency prevents it from fully standing out as a gaming-centric projector.

The biggest drawbacks of the Premiere 9 are its price and color accuracy. When compared to other available options, even those that are less bright, the Premiere 9 can cost twice as much, depending on what a potential buyer is considering. Its color accuracy also falls short, requiring calibration to improve. Even after calibration, the color can remain somewhat inaccurate, depending on the calibration approach. The other complaint I have is that there is no quick way to switch between inputs from a dedicated input button on the remote.

These shortcomings don't make it a bad projector. It is, in fact, quite good and performs well in many other areas. Its image is bright, the gamut coverage is impressive, the audio quality is excellent, and the Tizen OS offers a robust set of smart features. However, for users who already own an external streaming device like an Apple TV or Fire TV, the value of the built-in smart platform diminishes. Gaming enthusiasts might also hesitate due to the high latency and lack of HDMI 2.1 support, which reinforces the fact that this is not a gaming-focused projector.

For users willing to invest in professional calibration by someone who truly understands Samsung's calibration tools, the Premiere 9 can deliver a delightful picture. Those who prefer vibrant, heavily saturated images and are less concerned about color accuracy may also find it appealing. The Premiere 9 certainly has its place; the real question is whether buyers are willing to pay a premium for it.

Ultimately, the Premiere 9 could justify its current price with improvements in the aforementioned areas. However, in its current state, it is a tough sell given the competitive UST projector market, where similarly priced or more affordable options can perform just as well, if not better, in multiple aspects.

For more detailed specifications and connections, check out our Samsung The Premiere 9 LPU9D projector page.

To buy this projector, use Where to Buy online, or get a price quote by email direct from Projector Central authorized dealers using our E-Z Quote tool.