Originally Posted by chicago66
Thank you for the info..
Suggestions for paint to achieve the 1.3 gain.
Also.. we talk about brightness and LFS...
here is a question I asked on other thread but did not see an answer.. Right now in order to avoid a washout look on colors and achieve good contrast my projector is set at 53% brightness.
What relevance does that have to our calculations above for brightness.. I mean.... We are saying the 1500 lumens.. is lacking but yet I watch at 53%... I might sound confusing .. but I am sure you understand what I am asking..
I do....your reducing the lumen output of your PJ's output so that the dimmer image will make Blacks "look" darker and Colors will look deeper (more saturated) but in doing so you lose the punch and vibrancy you deserve to enjoy. Such is usually accomplished via calibration and the selection of specific viewing Modes (ie: Cinema ) as well as employing Isis settings (...or engaging Auto Iris...)
Both amount to being a "Robbing Peter to Pay Paul" approach, but in some if not all cases necessary for PJ Mfg to hit their specified performance specs. Basically (...and this was almost always ignored...) it was always accepted that a PJ's image would always have to fall far under the brightness levels of a direct view monitor to accomplish such. Also, if a PJ was exceptionally bright,it became much harder to prevent the PJ's Lamp light from intruding onto the Imaging Panels. Everything seemed to work at odds with each other.
To that extent, and because many more individuals do not have the benefit of ideally set up Rooms, Screen Mfg often designed in Contrast enhancement features (darker surfaces) and then sometimes attempted to compensate for the resulting attenuation by adding in Gain increasing features.
Any guesses as to why I and others were driven to counter all those counter productive approaches?
As screen sizes get bigger, too much brightness usually gives way to too little of the same. The advent of HDR also created a demand for brighter PJs and/or higher gain screens.
All the back in 2003-4 I worked with my previous version of MississippiMud (1:1:1 ratio of UPW- Pearl- Deep Base) to include very small amounts of Silver Metallic paint instead of using any Grey Tint. Doing so maintained gain while adding in the contrast and detail enhancing attributes of Silver....but not too much of the latter. That was called MMud-SE (Silver Edition)
Then I started using MMud-SE on Mirrors. That was a World Class application (...it also created a world of controversy
In early 2004 came RS-MaxxMudd
1qt Behr Ultra Pure White Flat Exterior (HD)
12 oz. Behr Deep Base Flat Exterior (HD)
3 (8oz) bottles - Delta Ceramcoat Metallic Silver #02603
1 (8oz) bottle - Delta Ceramcoat Pearl #02601
16 oz. Minwax Polycrylic Satin Finish (HD)
12 oz. Distilled Water
.....and the increase in Silver ramped up the Ambient Light and Contrast improvements to levels heretofore unseen. RS-MaxxMudd pretty much started all the efforts to create / produce better performance in Ambient Light. Not to say it was exclusive in that....just the best at doing it with readily available components.
I feel a different, updated version of RS-MaxxMudd is called for in your case. (...it is also essentially a very close clone of the Silver Fire N/C mix...)
16 oz PPG Diamond Pure White (Home Depot)
12 oz RustOleum Sterling Silver (Lowes or Online) * whatever slight amount of "Greying-up" is needed is provided by the Tint of the Silver
32 oz RustOleum White Pearl (Lowes or Online)
16 oz.RustOleum Ultimate Matte Polyurethane (Lowes or Online)
16 oz. Distilled Water (...add more Water (up to 20 oz.) as is needed to thin paint for spraying.