Originally Posted by Cooleyone
Sorry, didn't quite catch yer drift on the SF 2.5 5.0 and interstellar not an consideration.
More explicitly put, the black levels using a SF 2.5 5.0
would be / are so deep that any worrying about their depth and quality would not be under consideration. And what's oblique about using "Interstellar' as a descriptive phrase? I suppose "Blacker than a lump of Coal in a Dark Closet" or Blacker than the bottom of a Mine shaft" would be more 'earthly'.
I've just read one of your previous posts that discussed the different OUNCES of ingredients, 1.0 up to 5.0 I think. I didn't learn yet why one would choose 1.0 vs. 5.0 on the quantity of 'stuff'. Can you tell I'm a noob? Lol Why not just go with a darker Gray - tradeoffs I need to know about?
Lottsa reasons, that's why SF is made to be almost infinitely adjustable. Some PJs in some environments might be more than adequate at producing a deeply contrasted and dynamic image on a white surface, but fall short if any degree of ambient light is present. (...usually lower lumen output means better Black rendition but doesn't leave much "oomph" as far as counteracting intrusive light...) Some PJ / room Combos only need a mid-tone Gray surface to get'ter dun. In the case of an adjustable application such as SF, you choose (...or are told what to use...
) a specific amount of SF Colorant to add to the Reflective / Viscosity bases to achieve a shade of Gray that can both resist whatever level of ambient light intrusion is present and still balance out reflectivity as equates to the PJ's lamp output.
You don't want to start out with so dark a surface that when a lamp starts to go dimmer, you lose all the "PoP & Sizzle" you started out with, but you do want to start out with something that allows optimal performance on Low lamp so upping lamp output later can help maintain a balance. You can well believe that most every Screen Mfg doesn't even begin to bother to take such into account, leaving you to find out yourself at that future date.
On the contrary, on this DIY Forum resides many varied and different examples of pro-active DIY'ers who between them have combined a load of experience using about every PJ worth considering (...and a few you wouldn't consider as well...) It is considered an obligation by us to have any willing member receive the absolute best possible Screen application for their given circumstances. No Mfg Screen offers such adjust-ability, so hence is why SF is made to be as adjustable as it is. We could have just posted 2-3 levels, but then someone would be left in a "halfway there...too far" position
Trade offs? Go too dark for your PJ's output and you get a dull, dim image. Go too dark for your room's lighting and the image will again be less dynamic because you took the "Black Screen" equation too far. Most such Mfg Screens simply have to do that...and that is one reason that SI-BD absolutely had to start offering a Screen with a purported 1.4 gain, so as to compensate for the PJs out there that have barely enough Lumens to drive into such dark surface. By my and others reasoning, the BD isn't in the same category as the best of the best of such Mfg Screens, the DNP Supernova. And that type screen is at the level we aspire to make SF applications reach and achieve. And we already are pretty damnable close in many respects.
One aspect of a SF Screen of any shade is that it's not entirely about ambient light resistance, but also about optimizing the Black levels the Pj can produce. Sometimes, even in an ideally suitable room environment, the PJ itself can use a bit of a boost as far as achieving the deepest level of Contrast while maintaining excellent Color and Whites. The Epson 8350 is an excellent case in point. Combined with a SF 2.5 3.0
and a 110" diagonal Screen under "normal" amounts of non-directed ambient light and it's performance ca easily be compared to the 5010 / 6010.
The throw distance of the 5010 says 1.34 to 2.87. Not sure how to translate that into feet from the screen. Is it 1.34 x (screen height) = minimum distance? In that case, having the projector at 8" from a 120" screen would yield solid results, in the "sweet spot" would you say?
First off, 120" diagonal from 8' isn't ever gonna be a possibility with the 5010's focal length. At best, and staying within the prescribed percentage of minimum Throw, the available (...and suggested...) distance from the Screen would be 12' 6". That would be the "Sweet Spot" as far as optimizing lamp output as relates to "off the Screen" foot lambert performance. (...as wholly dependent upon the Screen's surface reflectivity...)
6mm is usually preferred, especially if you can simply hang the sheet directly against the wall. 6mm is pretty much self supportive and retains a Flat character. 3mm is pretty darn floppy and unless it's adhered properly to the wall or a substrate, it can have a bit of bowing or slight waviness due to it's flexibility. Under such circumstances, unless adhered to the wall with a thin adhesive, it's almost always mounted to a Frame or substrate before hanging.