The Official Silver Fire V.2 Thread. - Page 23

Chances are it's still very usable. Thinning/ Mixing. and Straining are all viable methods of re-stirring paint to a usable status. basically though...it's a judgmental thing. If you can see that the color and consistency is even, and the paint you have was not contaminated by rust from a degrading Lid or the rim of the can, your probably going to be good to go.


RS-MaxxMudd (standard)

Well, my Bad, eh? I rushed my reply and accidentally wrote in something else on my mind.

Based on your criteria, a SF 2.0 would be the best choice. A darker shade by 2x from RS-MaxxMudd, it will have "better than" Contrast enhancement needed for ambient light conditions than RS, but also...it still being a reasonably light Silvery Gray, it will still have enough gain to keeps the Whites looking pristine.

atl999,

As opposed to both the expense, and uncertainty of getting a perfectly seamless-appearing union between two Plastic sheets, correcting the Drywall issues and repainting is a vastly superior choice.

Unless....your wall is a complete disaster. Uneven studs, poorly done Tape joints, deep nicks, cracks, gouges....all present needs and skills few DIY'ers posses. Even then, if the Screen Real Estate is epic, overlaying and finishing Drywall is still a "most economic" choice whose final finish is at least dependent upon you/others efforts....not a "mfg".

Minor blemishes that a High Contrast paint amplifies....? You simply "erase" them, blot 'em out, smooth, prime, and paint again. Be assured, if the Framing is true, and it's simply a Texture or paint blemish issue, correction is a better solution that trying to create an ideal surface from "two" ideal surfaces.

Of course, the latter "could be done", but one way of 'doing' it requires a purposefully made, beveled edge seam that is filled and float sanded into a light skim of Drywall compound that covers the entire expanse of the Sintra sheets. Everything is sanded equally. If your gonna have to do all that....you might as well be doing it with the original Dry wall.

And...there are other inexpensive choices. Large 17 mil sheets of vinyl, 10' x 12". IMO a better substrate to start out with than BOC, and it's no more expensive "than".

DIY can take you down some very different paths. The most used applications and methods are usually the most successful. Some simply require a degree of "opt in" effort that is higher than others, but very few who have gone down such paths will dispute the worthiness of such a choice.

atl999, if you hit upon a specific choice of action "you" feel comfortable with, you can count on all the advisory help you'll need, and you're end results will be better for it.

But if your wall is basically sound, no other method I know of will get you to your goal more quickly, effectively...and most assuredly less expensively than getting the wall in shape and repainting.

If the Dry wall isn't hanging on just a few loose screws/nails, and there is no dry-rot issues, a wall coated with decent Skim Mud pre-prep / finish coat of SF will hold up longer than you'll have use for it.

Don't worry...chose this route, and you'll get the necessary help too.

120" @ 14' -10" seems very doable with a SF v2.5 3.0

I'd start out at that shade of Gray and let the w6000's DLP-oriented Contrast take up the slack.

CGRemakes,

Add 2 oz more Water, and "Dust" away. Overlap as much as possible and still get finished.

Pull the Throttle all the way back and let'er Roll. (...er, Spray... )

Having a completely blacked out room is always an advantage.


Silver Fire v2.5 2.0 for the best possible contrast boosting. Doing such will also allow you to use the maximum amount of available Lumens, and make the use of additional Black boosting properties

Kinda missing some important info though....such as how big a screen your looking for.

Based on a 1.2 Gain Mix and a 60" x 107" (122"er) @ 14', you'd get 19 Foot Lamberts.

If you'd like to try a somewhat simpler Mix that still has considerable Gain, (1.4) and also a degree of Contrast boosting, you could go with RS-MaxxMudd LL. Although spraying the RS-MM LL is always the preferred method, a advantage of the RS-MM LL is that it can be rolled on.

SF v2.5 5.0 is sufficiently dark enough for your use. And besides, if any "toning down" was to be considered, it would be by reducing the percentage of Metallic Content. But the actuality of it all is that as SF goes darker, gain goes down unless "additional" reflectivity is added. That in turn is what adds graininess and overt "directionality" (ie: Retro Reflectivity / loss of viewing Cone)

The amount of metallics in a 5.0 level Mix is specifically determined to be ideal for that shade of Gray, keeping the surface's gain level up around 1.0 and it's expected that the PJ used would have to have sufficient Lumen output to drive into that Gray.

What you do want is a dark enough gray to resist Ambient light's deleterious effects, but still have the Screen's Gain be as close to 1.0 as possible. That's because with any real degree less Gain than 0.9, then the image will start to look decidedly dull. You gotta understand, it's always easier and more effective to "tone down" glare by reducing Lumen output (Low lamp mode-ND Filters), than it is by attenuating the amount of "Projected" light that a surface can reflect by reducing surface gain by too great an extent. That latter just isn't the way to go.

It's a balancing act all the way. Barring a fight against "Directed Sunlight" across the Screen's surface, what needs to be accomplished is to have a Dark enough surface that any light that is weaker than the projected light, (...as measured in Foot Candles per sq. inch of ambient light vs. Lumens of Directed Projected Lumens...) is simply overcome because it cannot match/overcome the energy already present on the Screen's surface.

That of course is always a case reliant on "content", because if a PJ is projecting "Black", that projected "black" is going to slide down the energy scale, and at some point the balance will shift. That is where the "Blackness' of the Screen comes in....because the more the balance" favors the PJ / Screen combo, the lessor effect the ambient light induced degradation of Black levels will appear to be..


The balance struck between the darkness of the Gray, the amount of Lumens available, and gain of the Screen will always determine image quality during "worst case" situations.

You have:

1. A Smallish Screen size.

2. The ability to optimally place the PJ to maximize Lumen output.

3. A potentially N6.0 Dark Gray with approx.a .9 - 1.0 gain surface

4. A Ultra Bright Pj, whose output can be / is entirely adjustable.


I'd say your all set!

But lets say you'd rather try the darkest possible surface you though you could manage. Well, conventional wisdom backed with experience would dictate a 6.0 surface. That's the limit I'd recommend and feel confident in knowing you'd get a good, "color vibrant" and punchy image.

We've gone to 8.0 in some of our examples, but either one of two things had to happen. Either the amount of metallic s had to be increased proportionately, introducing excessive artifacts and "spark-lies', or the PJ's output had to be increased almost by 100% over a 6.0 to compensate.

The latter is going against almost any practicality of reasoning unless a truly commercial venture is under consideration.