Kalkulator projector gratis: atur aspect ratio, throw ratio, lumens dan ambient light untuk menghitung ukuran layar, throw distance, dan tinggi pemasangan.
This projector calculator is free to use, with no account and no password. It runs entirely in your browser; enter your name and email to reveal your result, and we can send you a copy.
The tool solves screen and projector geometry in either direction. Give it a screen diagonal and it returns the throw distance the lens needs. Give it the throw distance you actually have and it returns the largest image that lens can fill. It then works out the mounting height from the lens offset and shift, checks the screen against the ceiling, checks the projector against the room depth, converts lumens into foot-lamberts against the ambient light condition, and places the seating rows.
Four views are drawn: a three-dimensional room, a side elevation, a plan and a front elevation, each dimensioned. Every field starts blank and no result appears until the required fields are filled and you press Generate result. There is a step by step walkthrough of every field in the projector and screen calculator guide.
Everything in projection geometry hangs off one ratio. Throw ratio is the throw distance divided by the image width, and it is the number on a lens specification sheet. A 1.5:1 lens filling a 3 metre wide image needs 4.5 metres of throw. A zoom lens quotes a range, and that range becomes the mounting window rather than a single point.
Screen size comes from the diagonal and the aspect ratio. The diagonal of the aspect rectangle gives a scale factor, and width and height follow. Solving the other way, the widest image a lens can fill at a fixed distance uses the short end of the throw range, and the narrowest uses the long end. That is why a zoom lens gives you a size range at a fixed position, and a position range at a fixed size.
Mounting height comes from lens offset. Offset is expressed as a percentage of image height and describes where the lens sits relative to the image centre: zero puts the lens level with the centre of the screen, fifty puts it level with an edge. Vertical and horizontal lens shift then describe how far the optics can move the image without geometric distortion. The tool reports the lens height and the window that shift opens up.
Seating comes from viewing angle. SMPTE recommends a 30 degree horizontal field of view for the reference seat, which places it at 1.87 times the image width. THX recommends 36 degrees for the front row, which is 1.54 times the width. Both are reported, along with a practical back row.
Aspect ratio and diagonal, or aspect ratio and throw distance, are the minimum. Five standard ratios are offered, 16:9, 16:10, 4:3, 2.35:1 and square, plus a custom pair. The frame or border dimension is optional and only affects the overall screen size, not the image.
The lens preset fills a throw ratio range from the common lens classes: ultra-short throw, short throw, short zoom, standard, standard wide zoom and long throw. Entering a throw ratio by hand switches the preset to custom, because a specification sheet always beats a class average.
Offset, vertical shift and horizontal shift are all percentages of image dimensions rather than absolute distances, which is how manufacturers quote them. Room inputs, the screen bottom height above finished floor, the ceiling height, the room depth and the room width, are what turn geometry into a set of pass or fail checks.
Lumens, screen gain and the ambient light condition drive the brightness assessment. Everything except aspect ratio, size and throw ratio is optional, and the checklist shows what each additional field unlocks.
Projector output is quoted in lumens, but what the audience sees is luminance, and the useful unit is the foot-lambert. Divide the lumens reaching the screen by the screen area in square feet and multiply by the screen gain, and you have it.
The target depends entirely on the room. A dark dedicated cinema wants roughly 16 to 26 foot-lamberts, which is the range the film industry works to. A living room at night wants more, a room with the curtains drawn more again, and a bright daytime space needs a great deal more. The tool holds four bands and reports where the configuration lands, with a verdict that distinguishes useful headroom from genuinely too bright.
Screen gain is not free performance. A gained surface returns more light towards the centre of the room and less towards the edges, so the viewing cone narrows. An ambient light rejecting screen goes further, holding contrast with the lights on at the cost of cone width and cost. The tool recommends a surface class for the ambient condition chosen, and it carries one trap worth knowing: standard ALR rejects light arriving from below, which is exactly where an ultra-short-throw projector sits, so pairing the two washes the image out. A lenticular UST ALR surface is the correct pairing, and the tool says so.
Load the example and the tool fills a 120 inch 16:9 screen with a standard 1.5 to 1.8:1 zoom lens, a 15 percent offset, a 2600 lumen projector on a 1.1 gain screen, in a 7.5 by 5 metre room with a 3 metre ceiling.
Generate the result and you get the screen width, height, diagonal, overall size with frame and area; the throw distance at both ends of the zoom; the lens height and its shift window; the image brightness in foot-lamberts against the target band; the lumens required to hit that target; the three seating distances; a screen surface recommendation; and a set of checks covering room fit, ceiling clearance, screen height, brightness and seating.
The checks are where the design decisions surface. A configuration that fits the room and clears the ceiling but seats the front row past the room depth is telling you the image is too large for the space, not that the projector is wrong.
This is single-projector geometry. It does not cover edge blending, stacking for brightness or redundancy, warping onto a curved or irregular surface, or any form of multi-channel projection.
The brightness model is a uniform lambertian screen with a single gain figure. It does not model hotspotting, off-axis falloff, the measured performance of a specific ALR surface, or the contribution of room surfaces bouncing light back onto the screen, which is what actually destroys contrast in a bright room.
Sightlines are checked only against the numbers you enter. Real sightline verification needs seating tiers, eye heights, head clearance and the actual screen position in section, and a raked floor changes the answer completely.
Nothing here covers the rest of the signal chain: source resolution and frame rate, cable lengths and extender budgets, control, or acoustic coordination between the screen wall and the loudspeakers behind it. Treat the output as early-design geometry and equipment sizing, and as the input to a full audiovisual design rather than a substitute for one.
This calculator sits alongside the other audiovisual and acoustic tools in the design calculators set. The PAG/NAG calculator covers sound system gain before feedback in the same rooms. The RT60 calculator covers the reverberation time that decides whether speech from those loudspeakers is intelligible.
For the reference documents behind the numbers, see the standards library, and for the vocabulary, the terminology reference.
Projection and display design is part of ALTA Integra's audiovisual consultant practice. If you need multi-projector blending, ambient light rejection modelling, sightline verification, or full audiovisual system documentation, talk to the team.
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