The Official Stewart Film Screen thread. - Page 19 - AVS Forum
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post #541 of 1917 Old 08-03-2007, 08:28 AM
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Probably not. It has less gain, which might help with blacks, but it has less gain, which means overall less brightness. The main difference would be with regard to screen texture, sparklies, etc, being more absent in the newer formulation versus the older formulation.


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post #542 of 1917 Old 08-06-2007, 04:40 AM
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Is the StudioTek 130 (non-perforated) air tight? I am thinking of using this fabric for a slightly curved torus. I need it to be air tight because I have a fan creating vacuum to create the right torus shape...
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post #543 of 1917 Old 08-06-2007, 11:34 AM
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Yes, the fabric will hold the seal necessary for a Torus type installation.

Mark Robinson
Vice President of Technology
Stewart Filmscreen

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post #544 of 1917 Old 08-06-2007, 12:45 PM
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Quote:
Originally Posted by m Robinson View Post

Yes, the fabric will hold the seal necessary for a Torus type installation.

Thank you for you answer. Do you think there will be any problems with cross-refelctions in such a setup? Usually a gain of 1.8 and above is recommended for torus screens, but those numbers are from the good old CRT-projector days. A gain og 1.8 or above might be to much for todays digital projectors. I use a Ultramatte 200 today and need to use the projector with minimum light output (iris closed and lamp in eco mode).
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post #545 of 1917 Old 08-06-2007, 02:20 PM
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Does anyone know if the Stewart Ultramatte (150, 200) screens are angular reflective or retro reflective? And I see that Ultramatte 200 is "color corrected" for CRT projection. What would that manifest as, if used with a SXRD projector?


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post #546 of 1917 Old 08-06-2007, 09:01 PM
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Quote:
Originally Posted by nathan_h View Post

Probably not. It has less gain, which might help with blacks, but it has less gain, which means overall less brightness. The main difference would be with regard to screen texture, sparklies, etc, being more absent in the newer formulation versus the older formulation.

Over the weekend I re-adjusted the setting, and found that I don't need to use the high brightness mode, just by tuning up the brightness value while staying in the high contrast mode, and I can obtain a decent picture.
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post #547 of 1917 Old 08-14-2007, 10:05 PM
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Quote:
Originally Posted by m Robinson View Post

Flamaest, P.M. me with your serial # information. We've worked very hard to minimize blazing sparkles coming out of our screens. IF you've got one or two that keep poking out at you. Put up a white field, find the irritating sparkle, walk up to the screen, locate it, and mute it down by touching it lightly with a #2 pencil. Let's see how old it is and so forth. We've replaced some units for this problem, but it's been 2 years now. I'll work with you.

Mark, I sent you a PM.

Thanks again,
Fabian.
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post #548 of 1917 Old 08-17-2007, 10:55 AM
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Quote:
Originally Posted by pcarey View Post

I have just received my Stewart AT screen (thanks Jason) and it came with a product called the Cinema Sonic Processor to be used with the center channel to slightly enhance certain frequencies that are impeded when the speaker is behind the screen. I won't be able to use mine for a few weeks and I just wondered if anyone was using the CSP. If not why not!

Thanks

Piers

I too am curious about the CSP with Microperf screens, and whether or not it would be noticable if I use it or if I don't use it in my particular situation where the center channel would be the only speaker behind the screen? My right and left mains wouldn't be behind the screen.

If it would be noticable, what other devices are available on the market to compensate (specific products please) for the sloping dB loss?

The reason why the CSP is a problem for me is because it has no on/off/bypass feature, so it would always be on when in use, even when the screen is not recessed into the ceiling. That is a problem for me because I listen to a lot of surround music as well as watch movies.

Thanks.

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post #549 of 1917 Old 08-17-2007, 11:34 AM
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Quote:
Originally Posted by QueueCumber View Post

I too am curious about the CSP with Microperf screens, and whether or not it would be noticable if I use it or if I don't use it in my particular situation where the center channel would be the only speaker behind the screen? My right and left mains wouldn't be behind the screen.

If it would be noticable, what other devices are available on the market to compensate (specific products please) for the sloping dB loss?

The reason why the CSP is a problem for me is because it has no on/off/bypass feature, so it would always be on when in use, even when the screen is not recessed into the ceiling. That is a problem for me because I listen to a lot of surround music as well as watch movies.

Thanks.

I got a CSP with my stewart screen from about 6 years ago. I tried it but did not use it. It produced a a (slight) hum in my center channel. I used a digital EQ from Rane instead, which I needed anyway for room correction. They may have improved the CSP since then, I don't know. The rane eq is fully programable and has memories so you could use a setting for your screen and no screen situations. The down side to the rane is it is not cheap, it adds latency, and really needs to be driven with balanced levels to be quiet. Also it is a pro audio product so the software assumes you know all about eq, phase, etc. You really need measuring equipment to set it up (spectrum or time domain analyzer, such the ETF acoustic SW).
As to how much difference the the screen/ no screen is, it is noticeable, but I would not call it dramatic. You'll need to hear it for yourself as to whether you can live it without any compensation.

- Kent
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post #550 of 1917 Old 08-22-2007, 11:35 AM
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Quote:
Originally Posted by nathan_h View Post

Does anyone know if the Stewart Ultramatte (150, 200) screens are angular reflective or retro reflective? And I see that Ultramatte 200 is "color corrected" for CRT projection. What would that manifest as, if used with a SXRD projector?

Hmmm. I even sent this question to Stewart and didn't get an answer. Really, no one knows if the Ultramatte 200 is:

1) angular or retro reflective?

2) color corrected for CRT projection in a way that means an SXRD projector's color temp and decoder (already calibrated) would be wrong?


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post #551 of 1917 Old 08-22-2007, 01:54 PM
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Hello Posters,
Nathan H.
All Ultramatte Fabrics are Matte screens with angular reflective elements in the optical coating. There are also highly diffusive and Lambertian behaving matte elements in the optical coating. This means that the viewing cone is centered upon the incident angle of projected light, but reasonably wide. The viewing cones for the Ultramatte range do compare pretty favorably with other gain modified screens. They are not entirely Lambertian like a true matte unity gain fabric, but they are not specular or mirror like.

The notion that a screen fabric is color corrected means that the color performance is monitored and modified so that color shift, a common artifact of poorly engineered gain surfaces, is controlled and managed so that a calibrated projector can achieve D-6500 with the surface, and there is not some weird uncorrectable skew to the color.

Mark Robinson
Vice President of Technology
Stewart Filmscreen

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post #552 of 1917 Old 08-22-2007, 03:24 PM
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Thanks! That makes it sound like the Ultramatte 200 could work for me. I've got a ceiling mounted projector, to the angular aspects work well.

Although I think I understand the concept better now, I'm still a little confused about why the "color correction" is called out for the Ultramatte but not several other Stewart screen fabrics -- since it sounds like it would be a characteristic one would want most of the time. Is the reason it's specifically called out on the Ultramatte 200 simply that one expects lower gain screens (especially from Stewart) to be neutral in their impact on color, but that it's a more rare achievement with such a positive gain screen?


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post #553 of 1917 Old 08-23-2007, 07:03 AM
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I was recently reviewing the settings for my Sony G50 and found one that referred to the screen. It was check boxes for Matte or Bead. I have a Stewart StudioTek 130 I suspect it is a matte type screen rather than bead but I am not sure. If someone out there knows please advise.
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post #554 of 1917 Old 08-23-2007, 07:52 AM
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Just a note for Mark Robinson. My new LX090 came with quite a bit of black overspray on the lower battern and tab-tension string, perhaps mine slipped through the QC checks prior to shipping? In any event, the screen presents a stunning picture so I'm happy to live with it as is. And a suggestion. If either mounting point on the screen case could have a "jack screw" type mechanism to allow precision adjustment of horizontal after installation would be a handy feature.

"My interest in home theater is not only that it annoys the wife, but if it was, then that would be enough"
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post #555 of 1917 Old 08-29-2007, 10:09 AM
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Does anyone know exactly what the effect of not having 12 inches between the speaker and a microperfed screen would be?

I've read the paper on the stewart website and note the "comb filtering" that could occur. How much of an effect would that really (practically) make in an average home theater? Would it really be noticable? Assuming the speakers were only 3 inches behind the screen.

Thanks in advance. Highly informative thread...
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post #556 of 1917 Old 08-30-2007, 07:23 AM
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I have recently found someone selling a Stewart screen locally for a very attractive price. It is a homemade Stewart Videomatte 2000 on a 7.5 x 10' wrapped around wood. I was trying to do a little research on this last night, but the only thing I could really find info on was the Firehawk, Greyhawk, and StudioTek 130. How does the Videomatte 2000 compare to these? I will be using it with a Panasonic AE500U. I currently only project against a standard eggshell white painted wall. I used to use blackout cloth, but the size was too small after I upgraded to my own home.

Thanks in advance!
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post #557 of 1917 Old 09-03-2007, 05:39 AM
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Geez, I'm glad I didn't depend on you guys' input on this screen! Went ahead and bought it anyway, and it turned out to be a decent screen, just have to stretch it back out due to wrinkles and re-staple it.
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post #558 of 1917 Old 09-12-2007, 09:15 PM
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Please forgive me if this has been asked and answered before, but I tried searching and could not locate an answer for this question:

What is the recommended minimum seating distance from the latest Stewart Microperf screens in order for the perfs not to be visible?

Thanks in advance,

Dan

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post #559 of 1917 Old 09-14-2007, 01:14 PM
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Quote:
Originally Posted by danstone View Post

Please forgive me if this has been asked and answered before, but I tried searching and could not locate an answer for this question:

What is the recommended minimum seating distance from the latest Stewart Microperf screens in order for the perfs not to be visible?

Thanks in advance,

Dan


Depends on how good your vision is. With contacts or glasses I'm around 20/15 and can see the perfs at 12 ft. But not at 14 ft.
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post #560 of 1917 Old 09-20-2007, 11:36 PM
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I am now the proud and happy owner of a second hand 110" Studiotek skin. I can't wait to start using it, but therein lies the problem...I bought the skin only and don't have a frame. Has anyone built a DIY frame for a Luxus skin? I'm thinking about a velveteen covered frame using 1x4 boards, but wanted to know if there are any particular cautions (amount of tension required when mounting? mouting methodology?).

The local Stewart office (Singapore) said they don't sell frames separately.

Many Thanks!

Dave
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post #561 of 1917 Old 10-04-2007, 08:02 AM
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I'm coming off of my last video room (I moved) which involved a Sony Ruby rear-projected on a Stewart 1.0 gain RP material.

I am now putting together a "normal" front-projection setup, in a semi-dedicated room (don't like caves), based around a Sony black pearl / VPW-60 and a 16:9, 110" diag. surface.

I have the option at this point to go microperf or not, and I wonder what peoples opinions are regarding it.

It also seems like the firehawk / grayhawk material may do well for more casual viewing, even if most of it is done with lights out. Wall / ceiling colors are not white, but are muted / earth-tone. Its no cave.

- Thanks for any input - its been awhile since I've reviewed screen choices, and even longer since looking at front projection -vs- rear.

- Chris
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post #562 of 1917 Old 10-08-2007, 08:54 PM
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I am in the market for a 56x133 screen to use for both 16x9 and scope viewing. I have a Infocus 777 which from what I have read generally is 1,300 - 1,400 FL calibrated, which should give me 650 FL at bulb EOL. I have the ability to do full light control but since this is a family REC room much of the time there will be some lights on. The walls are going gray, the ceiling will be velvet for the first 4 feet or so, screen goes up to the ceiling.

From what I have read if I go for full light control viewing then the Greyhawk would be good, but I dont have the bulb at EOL to drive that.

So given the need for a little gain and the given that there will be some lights on most of the time Seems that the best choice would be the Firehawk G3.

Anyone disagree?

Or agree?
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post #563 of 1917 Old 10-15-2007, 07:31 PM
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Anyone have an opinion on the question below?



Quote:
Originally Posted by video_bit_bucket View Post

I am in the market for a 56x133 screen to use for both 16x9 and scope viewing. I have a Infocus 777 which from what I have read generally is 1,300 - 1,400 FL calibrated, which should give me 650 FL at bulb EOL. I have the ability to do full light control but since this is a family REC room much of the time there will be some lights on. The walls are going gray, the ceiling will be velvet for the first 4 feet or so, screen goes up to the ceiling.

From what I have read if I go for full light control viewing then the Greyhawk would be good, but I dont have the bulb at EOL to drive that.

So given the need for a little gain and the given that there will be some lights on most of the time Seems that the best choice would be the Firehawk G3.

Anyone disagree?

Or agree?

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post #564 of 1917 Old 10-15-2007, 08:13 PM
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My opinion is with that PJ the FH is a great choice, very versatile, particulary with any ambient. About anything else will wash out badly with ambient. My only concern (see posts in this thread and reply from M. Robinsion) is hotspotting at that width. It will depend somewhat on the throw. Presuming stock lens options, I think it will be OK, but I've considered a curved screen for hotspotting reduction with the FH. May not be necessary. I love my 110" FH, just don't know how a 120+ will behave. HTH.
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post #565 of 1917 Old 10-17-2007, 07:12 PM
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Quote:
Originally Posted by video_bit_bucket View Post

I am in the market for a 56x133 screen to use for both 16x9 and scope viewing. I have a Infocus 777 which from what I have read generally is 1,300 - 1,400 FL calibrated, which should give me 650 FL at bulb EOL. I have the ability to do full light control but since this is a family REC room much of the time there will be some lights on. The walls are going gray, the ceiling will be velvet for the first 4 feet or so, screen goes up to the ceiling.

From what I have read if I go for full light control viewing then the Greyhawk would be good, but I dont have the bulb at EOL to drive that.

So given the need for a little gain and the given that there will be some lights on most of the time Seems that the best choice would be the Firehawk G3.

Anyone disagree?

Or agree?


I like your FH choice as well. I've seen it in an environment "similar" to what you describe and it looked great. (One note: I assume you are referring to a fixed screen, because the FH in an Electriscreen is limited to 118" in width.) (Just clarifying that "screen goes up to the ceiling" doesn't mean "into" the ceiling.)

Jim
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post #566 of 1917 Old 10-17-2007, 11:42 PM
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Yes it would be fixed. Thanks for the feedback.

Quote:
Originally Posted by JlgLaw View Post

I like your FH choice as well. I've seen it in an environment "similar" to what you describe and it looked great. (One note: I assume you are referring to a fixed screen, because the FH in an Electriscreen is limited to 118" in width.) (Just clarifying that "screen goes up to the ceiling" doesn't mean "into" the ceiling.)

Jim

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post #567 of 1917 Old 10-20-2007, 03:54 AM
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Hmmm... Something sounds odd about what you describe. I can see where if you are using horizontal lens shift, you'll end up with the brightest seat being on the opposite side of the screen from where the projector is. Other than that, the rest seems suspicious. How can the UM200 be created for the "best accuracy," but have different compensation than their "most accurate" ST130? Or have trouble with a ceiling mounted projector -- which is where one SHOULD mount a projector for use with an angular-reflective screen like the UM200?


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post #568 of 1917 Old 10-23-2007, 01:19 PM
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I have a JVC-RS1 currently mounted on the ceiling 13ft. away from the screen. Looking at either a draper 110'' Onyx or Stewart Studiotek 130. Ambient light is completly controlled and the room is small. Am having a hard time justifying spending the extra money for the Stewart 130 is it really worth it. Thanks if anyone can help me out.
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post #569 of 1917 Old 10-24-2007, 07:39 AM
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Help!

A friend of a friend just offered to sell me his 2 year old Stewart Firehawk (1.35 gain) for 900, but I don't know if this will be a good screen for my AX200. I have the projector 16' back in a regular living room w/ white walls and some ambient light during the day. Anyone think I should move on this? or is it a bad choice for this type of projector?
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post #570 of 1917 Old 10-27-2007, 07:21 PM
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Projector: Sony VPL-VW60
Screen size: 110" diagonal 16x9
Distance: 13-14' from projector lens (about half the capable zoom)
Room: Dark, controlled light, dark walls/ceiling
Seating: 11' from screen, about 40 degrees wide

I'd like as much brightness as possible, in case I want to watch with my 15W wall sconces, or even my overhead lights, but I also want as good/true a picture as possible. I'll get the setup ISF calibrated

According the the projection calculator, I'd get 10fL with the ST 130 1.3, and 12fL with the UM 150 1.5.

I also dislike the sparklies with some front (and many rear) projection screens.

- Is the +2 fL going to make any significant difference?
- Is there any difference between the ST and UM in terms of ambient room light?
- Is the narrower cone going to make any significant difference for my setup (11' from screen, 10' wide seating)?
- Anything else significant to choose one over the other (ST130 v UM150)?

Thanks!
-Mark

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