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post #181 of 246 Old 11-12-2018, 10:51 PM
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Screen Acoustics by AVScience

My v6 screen arrived almost two weeks ago, and I finally got it built and hung this weekend. I purchased the material via Mike Garrett, and decided against retrofitting to my Carada frame given the current phenomenal pricing of the AVS frame. My Carada was 118" wide 2.37:1 and the AVS is 120" wide 2.37:1. I may have bought the Dream Screen frame for future motorized masking, but the only options were 112" and then 138", which wouldn't fit my room and I didn't want to go smaller than I was used to.

The frame arrived wrapped in plastic in one tube, with the material rolled around a dowel in another smaller tube:



The included tool for tucking the material into the grip rails. They forgot the Digornio



The completed screen:



My previous screen (Falcon Vision) would light up the back of the screen and the black Knauf insulation behind. I couldn't find the photo I'd previously taken of that, but a direct shot of how the projector lights it up is very representative and shows how reflective that black material is:



There was no point including the photo I took from behind the v6, as there was no leakage at all! The apparent contrast and sharpness are both significantly increased, somewhat from the lack of leakage reflecting back through the screen presumably. Obligatory screen shot (from Rogue One) taken with my aging Samsung Galaxy S7 phone (which actually demos the lack of light leakage. With the Falcon the proscenium is more lit up with no framing above the screen currently. With the v6 there is just a little from the scatter from the screen)



I took some REW 20-20k sweep measurements with the Carada and then v6 screens up (CSL calibrated umik at the seating position), though haven't analyzed them yet. Given the location of the drivers, below 300Hz will need to be discarded from the comparisons. I'll plan to get those up soon.

So far though, I'm extremely impressed. The final result is so much better than even the 2'x2' sample suggests.
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Last edited by dlinsley; 11-12-2018 at 10:57 PM. Reason: Added comment about lack of proscenium light up
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post #182 of 246 Old 11-13-2018, 07:20 PM
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Originally Posted by lovingdvd View Post
The flat running along the wood surface is confusing me - I would have thought the flat would have been on the black surface.

Please see the attached picture so I can see if I have this straight. In the picture the green lines represent the vertical "posts" in my Seymour Premier fixed frame. The red line represents the line where I would push up against the posts prior to mounting. Note that the flat would be at 90 degrees to the posts, yes? And the yellow line represents the area where the fabric is tucked if I understand it. Further it sounds like the flat area is about 1/2" wide in total, with about 1/4" being the available flat area to get a screw into? And the total height is about 1/4"?
The unpainted wood shown is the front face of the curved screen. I have the rail on the top of the frame, so the fabric goes over the corner, which forms a leading edge for the fabric. The unpainted frame is behind the velvet wrapped trim of the masking system.
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post #183 of 246 Old 02-03-2019, 11:48 PM
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If anyone is attending ISE in Amsterdam this year, please be sure to step by the Alcons Pro-Ribbon Immersive experience booth a hall / booth 6-H150! Alcons is bringing a full CRMS (Cinema Reference Monitoring System) 9.x(8!).6 Atmos layout, processed by the Storm 32ch AES enabled processor while we´re setting up a 3,5m wide UltraWeave V6 featuring the full 10-year stain warranted TextileShield PRO fabric in a native CineScope format. If you have not seen the new JVC N-series, this would also be a good opportunity, as we´re using the DLA-N(x)7 and a Panamorph DCI lens. Will post some pics once it´s up and running!

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post #184 of 246 Old 02-04-2019, 12:36 AM
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If anyone is attending ISE in Amsterdam this year, please be sure to step by the Alcons Pro-Ribbon Immersive experience booth a hall / booth 6-H150! Alcons is bringing a full CRMS (Cinema Reference Monitoring System) 9.x(8!).6 Atmos layout, processed by the Storm 32ch AES enabled processor while we´re setting up a 3,5m wide UltraWeave V6 featuring the full 10-year stain warranted TextileShield PRO fabric in a native CineScope format. If you have not seen the new JVC N-series, this would also be a good opportunity, as we´re using the DLA-N(x)7 and a Panamorph DCI lens. Will post some pics once it´s up and running!
Hey, do you have any pictures of the CIH motomask system installed anywhere?

I'm curious about a few things:

1 - I would like to know if the masking is acoustically transparent
2 - Is the masking material as dark as the surrounding frame (this is my biggest bug bear of other systems)
3 - Can the masking setup be linked to an automated system, for example a Control 4 system. Alternatively, how would you recommend this is controlled?
4 - I'd like to see how it looks installed, as the frame at 20cm is larger than some

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post #185 of 246 Old 02-04-2019, 01:37 AM
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DreamScreen V6 UltraWeave AT Screen

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Originally Posted by JohnnyWilkinson View Post
Hey, do you have any pictures of the CIH motomask system installed anywhere?



I'm curious about a few things:



1 - I would like to know if the masking is acoustically transparent

2 - Is the masking material as dark as the surrounding frame (this is my biggest bug bear of other systems)

3 - Can the masking setup be linked to an automated system, for example a Control 4 system. Alternatively, how would you recommend this is controlled?

4 - I'd like to see how it looks installed, as the frame at 20cm is larger than some





I’ll get back to you with some pics later, but in short;

1. The masking panels are not acoustically transparent which differs from most of the others. Placing an additional barrier, which in this case also needs to be made out in a woven, quite rigid and as such also quite low acoustically transparent manner (3-4dB added loss), and having placed such an effort on obtaining our reference level AT on the V6, we choose to make them out in velvet. ‘Down’ side to that is that you do need a bit wider / larger screen to secure the appropriate L+R spread within the 16:9 area (or place L+R outside the frame), but on the pro side, it is not that grey’ish woven masking fabric normally used, but dark velvet that accommodates the frame perfectly.

2. Yes, they use the same dark velvet as the frame...

3. Yes, through provided RS485 / 232 commands.

4. Get back to pics, but the frame is certainly on the sturdy side!


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post #186 of 246 Old 02-04-2019, 11:16 AM
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Quote:
Originally Posted by Lygren View Post
I’ll get back to you with some pics later, but in short;

1. The masking panels are not acoustically transparent which differs from most of the others. Placing an additional barrier, which in this case also needs to be made out in a woven, quite rigid and as such also quite low acoustically transparent manner (3-4dB added loss), and having placed such an effort on obtaining our reference level AT on the V6, we choose to make them out in velvet. ‘Down’ side to that is that you do need a bit wider / larger screen to secure the appropriate L+R spread within the 16:9 area (or place L+R outside the frame), but on the pro side, it is not that grey’ish woven masking fabric normally used, but dark velvet that accommodates the frame perfectly.

2. Yes, they use the same dark velvet as the frame...

3. Yes, through provided RS485 / 232 commands.

4. Get back to pics, but the frame is certainly on the sturdy side!


Sent from my iPhone using Tapatalk
Thanks very much for this. I'm a way off building my home cinema as the house is under construction (probably 5-6 months), but I'll definitely consider this frame.

I think the non-acoustically transparent masking may be an issue for me, but I'm interested in the screen material nonetheless. Will definitely contact you for a sample nearer the time :-)
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post #187 of 246 Old 02-09-2019, 10:56 PM
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So I received my sample in the mail and put it up on my Stewart ST130 screen. It is noticeably darker. As much as I like the idea of my center channel behind the screen, I can't sacrifice that much brightness.

Video: JVC RS620/X9500 projector, Stewart ST130 screen, Panasonic ub820 UHD player
Audio: Anthem AVM60 preamp, Anthem MCA525 amp, B&K Reference 125.7 amp
Subs: dual SVS PC-12 cylinders
Speakers: RBH SV-661R and SV-661CR fronts, Jamo 626k4 side/rear surrounds, DefTech DI6.5R heights
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post #188 of 246 Old 02-10-2019, 06:01 AM
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So I received my sample in the mail and put it up on my Stewart ST130 screen. It is noticeably darker. As much as I like the idea of my center channel behind the screen, I can't sacrifice that much brightness.
Just get a Paladin/DCR (if you upgrade to the 4k gen of JVCs) lens, which will offset the loss of gain and get you right back to where you are.
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post #189 of 246 Old 02-10-2019, 09:07 AM
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So I received my sample in the mail and put it up on my Stewart ST130 screen. It is noticeably darker. As much as I like the idea of my center channel behind the screen, I can't sacrifice that much brightness.
Just get a Paladin/DCR (if you upgrade to the 4k gen of JVCs) lens, which will offset the loss of gain and get you right back to where you are.
Yikes, but $7K?

Video: JVC RS620/X9500 projector, Stewart ST130 screen, Panasonic ub820 UHD player
Audio: Anthem AVM60 preamp, Anthem MCA525 amp, B&K Reference 125.7 amp
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Yikes, but $7K?
A few options:

(A) talk to your dealer, you may be surprised at the street price of a DCR; you can also inquire whether your dealer has any B-Stock DCR lenses (what I did, saved a bunch)
(B) check the classifieds - there was a new A-Stock lens being sold for $6600 last week
(C) if you have a throw distance of greater than 1.6 x width of your image, you can go with the normal Paladin, non-DCR, and save a few grand
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post #191 of 246 Old 02-10-2019, 03:57 PM
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Yikes, but $7K?
A few options:

(A) talk to your dealer, you may be surprised at the street price of a DCR; you can also inquire whether your dealer has any B-Stock DCR lenses (what I did, saved a bunch)
(B) check the classifieds - there was a new A-Stock lens being sold for $6600 last week
(C) if you have a throw distance of greater than 1.6 x width of your image, you can go with the normal Paladin, non-DCR, and save a few grand
I am beyond 1.6 throw distance. Do these non-DCR lenses work well with the RS600/620/640 projectors, too?

Video: JVC RS620/X9500 projector, Stewart ST130 screen, Panasonic ub820 UHD player
Audio: Anthem AVM60 preamp, Anthem MCA525 amp, B&K Reference 125.7 amp
Subs: dual SVS PC-12 cylinders
Speakers: RBH SV-661R and SV-661CR fronts, Jamo 626k4 side/rear surrounds, DefTech DI6.5R heights
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Quote:
Originally Posted by ddgdl View Post
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Originally Posted by Erod View Post
Yikes, but $7K?
A few options:

(A) talk to your dealer, you may be surprised at the street price of a DCR; you can also inquire whether your dealer has any B-Stock DCR lenses (what I did, saved a bunch)
(B) check the classifieds - there was a new A-Stock lens being sold for $6600 last week
(C) if you have a throw distance of greater than 1.6 x width of your image, you can go with the normal Paladin, non-DCR, and save a few grand
I am beyond 1.6 throw distance. Do these non-DCR lenses work well with the RS600/620/640 projectors, too?
Absolutely!
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post #193 of 246 Old 02-10-2019, 06:26 PM
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Absolutely!
I've long avoided going down the CIH route. There are so many rabbit holes to it.

A 2.40:1 blu ray makes it advantageous, no doubt. However, not for a Christopher Nolan movie. Not for Netflix or Amazon. Not for IMAX. Certainly not for sports or Youtube or video games or animated movies with the kids that are in 16:9.

In other words, black bars are more of a "thing" when you have a scope screen than if you just stick with 16:9.

But there's no question that a big picture with an A-lens on a big budget movie is something to behold.

The only real answer is a mechanized masking screen, but the cost and complication of those devices is still impractical. I look forward to someone figuring it all out on a simpler scale.

I go back and forth on this. Scope or 16:9, AT screen for audio or ST130 for image quality. Etc.

I do notice less and less comments in the scope screen forums. I think a lot of folks have retired from all the constant adjustments and settings every time they change a source.

For now, I'm going to avoid that trap, and try to just keep it simple, even if it means black bars for movies.

But I can't help but think that perhaps one day all this can happen within a projector itself, and with a screen capability to adjust accordingly on the fly.

Video: JVC RS620/X9500 projector, Stewart ST130 screen, Panasonic ub820 UHD player
Audio: Anthem AVM60 preamp, Anthem MCA525 amp, B&K Reference 125.7 amp
Subs: dual SVS PC-12 cylinders
Speakers: RBH SV-661R and SV-661CR fronts, Jamo 626k4 side/rear surrounds, DefTech DI6.5R heights

Last edited by Erod; 02-11-2019 at 11:40 AM.
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post #194 of 246 Old 02-11-2019, 05:28 AM
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Motorised masking is still somewhat complex, agreed, which is also why we have made out our MotoMask frames in a retrofittable, less complex top located masking roller for both 1- and 2-way systems. Sure, you miss out some of the features of the more complex one using tracks and / or dual motors, but the amount of components and as such the number of places where stuff can go wrong is reduced significantly. However, even our top located masking still requires a very sturdy frame system, so it´s not "cheap" as per se (MSRP for frame + masking starts at about 3700USD, fabric starts at an additional 999).

We did use a DCR lens + JVC NX7 at our latest ISE show though, with a fixed 2.40:1 about 12ft wide screen, and for cinescope content it works great. IMAX content switching back to forth between 2.40:1 and 16:9 is hard though, as it would be for any system... 16:9 content would obviously have black bars on each side with such a system, so I guess it depends on how much 16:9 content you watch and how annoyed you would be on those black bars. Sometimes I even overshoot Netflix on my native 2.40:1 frame back home as it is just between 16:9 and cinescope. Personally I find black bars over and under the image far more annoying than on each side of it.

We will certainly continue to work on improving masking systems, perhaps even a lower cost manual one would be a good idea for us to make out, we´ll see...

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We will certainly continue to work on improving masking systems, perhaps even a lower cost manual one would be a good idea for us to make out, we´ll see...
Have you thought about a simple version like what Seymour does? Manual panels that attach to the frame with magnets, for relatively inexpensive prices.
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post #196 of 246 Old 02-11-2019, 05:57 AM
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Have you thought about a simple version like what Seymour does? Manual panels that attach to the frame with magnets, for relatively inexpensive prices.
Yes, we even had similar panels like that in the past, but people complain about "clutter" in terms of where to place them. We have been working on some retrofittable rollable masking panels to compensate for that, i.e. at least hidden, but still low cost. Would be for our MotoMask frames though, we need the "slit", but the frames are not really that expensive and they are also super sturdy, so it would be a "in-between" solution the very basic magnetic panels and those more expensive motorised rollers.
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post #197 of 246 Old 02-11-2019, 07:27 AM
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Personally I find black bars over and under the image far more annoying than on each side of it.
+1. That's why I find horizontal masking in combination with zooming (CIW) not such a bad idea, especially in cases where lack of brightness and/or pixel density is not a problem.
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post #198 of 246 Old 03-06-2019, 03:38 PM
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In my private cinema I´m seated 1x screen width (about 11ft), and close distances are really where 4K and the V6 makes perfect sense due to the combination of the high resolution and the very tight randomised surface of the V6... Still, the closer you are seated, the greater is also the importance of content. While UHD is normally very filmlike and seemingly uncompressed, I do realise that some broadcasts are still better suited for second row.
Lygren, in your oppinion would 4 meters be too close to a 405 wide 2:40;1 AT screen? Been looking very closely at the UltraWeave V6 and planning on getting a screen for my DIY home cinema I'm building at this moment. If possible please send me a PM. I can't send you one since I haven't got at least 15 posts yet.
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post #199 of 246 Old 03-06-2019, 11:39 PM
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Thank you for your kind reply. This makes good sense. Especially services like Netflix er quite often pixelated in darker scenes because of the relatively low bitrate in normal HD programs. Haven’t played with the 4K variant yet though. Only have an 1080 SXRD pj for now. Planning on getting a much more light capable pj than the current 1600 lumen Sony I have. How much light would you recommend for a 405cm screen width? Should this be in the 2000+ range?
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post #200 of 246 Old 03-07-2019, 01:31 AM
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Lygren, in your oppinion would 4 meters be too close to a 405 wide 2:40;1 AT screen? Been looking very closely at the UltraWeave V6 and planning on getting a screen for my DIY home cinema I'm building at this moment. If possible please send me a PM. I can't send you one since I haven't got at least 15 posts yet.
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I guess that depends on a number of factors, but in terms of the screen texture at least, you would have no issues with the UltraWeave at much closer distances than 4m. As for seating distance to screen width; personally I prefer 1:1 myself, in my own cinema my screen is 3,3m / 11ft wide, and my first - favourite - row is about 3m off... However, seated that close would require a projector with high fill rate such as a D-ILA or SXRD in my opinion. I am currently actually testing an Epson Pro Cinema 6050 / TW9400 LCD right now, and the main concern for me on my seating distance is the visible pixel grid.

Anyhow, I´ll shoot you a PM!

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post #201 of 246 Old 03-07-2019, 01:45 AM
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Thank you for your kind reply. This makes good sense. Especially services like Netflix er quite often pixelated in darker scenes because of the relatively low bitrate in normal HD programs. Haven’t played with the 4K variant yet though. Only have an 1080 SXRD pj for now. Planning on getting a much more light capable pj than the current 1600 lumen Sony I have. How much light would you recommend for a 405cm screen width? Should this be in the 2000+ range?


I am not seeing that reply you are referring to for some reason, but I have been using a JVC DLA-X5900 / RS440 for a long while in my own 1:1 seating distance (3m / 10ft) / screen width (3,3m / 11ft) cinema, but I do use the 4K E-shift on that unit to avoid visible screen door. As such, the X-series JVC´s are great in my opinion, while the Epson LCD, even with E-shift activated, would work better at a 1,5x seating distance or somewhere in those whereabouts... The 4K native JVC´s or the Sony 4K´s would work fine on 1:1 in my opinion - at least in terms of screen door.



Then it’s certainly also a matter of content quality, I see Netflix was mentioned, and although their overall quality has improved over the years, I agree that low bandwidth material might often be an issue with low seating-to-screen widths ratios. One solution as such would be to use a masking frame, and mask your 2.40:1 native image down to a smaller (in width that is) 16:9 when using sources like Netflix. One issue in terms of Netflix specifically though, is their aspect ratio being neither 16:9 nor 2.40:1, but somewhere in between, so our 2.40:1 masking screens that uses a fixed width of the masking panels to keep cost down would not be "perfect". Still, the new JVC N-series (native 4K), for example, has a very nice, new feature now that allows for custom digital masking for each format chosen, so that you can clip off some of the pixels at each side of the image when masking to 16:9. I mean, other masking solutions with adjustable side masking would be more flexible in such regards, but also cost quite a bit more, so it´s all give and take - and in my opinion keeping it as simple as possible in terms of overall operations of the system is also an important factor (i.e. not having to adjust the masking for a bunch of formats all the time).



As for light output, a 4m wide screen is certainly a large one, so if you would want to hit HDR levels brightness it would require quite a lot of light. However, in my opinion that is, a proper tone mapping or outputting SDR converted HDR material, would compensate a whole lot for brightness requirements. We just did a 3,5m wide 2.40:1 screen at the Alcons Pro-Ribbon Immersive Experience at ISE in Amsterdam using a JVC DLA-N7 and a DCR lens. The N7 outputs about 1800 lumens while the DCR adds another 30% or so, so in total about 2300 lumens on that setup. It did look quite smashing as far as I am concerned, even at HDR, and we were using the new internal tone mapping system of the JVC for that purpose. However, the Panasonic UB420 / UB820 / UB9000 UHD players also has a very nice tone mapping system if your projector does not support it properly internally (which is the case for the 4K Sony projectors as far as I am concerned at least, i.e. they require external mapping...). MadVR and a PC is another option, even dynamic HDR support (frame-by-frame) being launched these days if using a PC as your source is acceptable...

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Last edited by Lygren; 03-07-2019 at 02:28 AM.
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post #202 of 246 Old 03-07-2019, 03:08 PM
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Played a bit with the newest Panasonic uhd player at a friends house who has a Sony VPL-VW360ES pj and never really got the hdr tone mapping feature to work properly. I’ll be doing a bit more testing and research. He just ordered the new VW570ES. The old didn’t work with a dcr lens on 4K material. The pj couldn’t cope with the vertical stretching on 4K. The newer models supposedly can do this.
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post #203 of 246 Old 03-07-2019, 03:16 PM
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I’m a bit concerned about total lumens or nits when using a large AT screen. Eventually I’ll be buying a new pj and hopefully they will have more sufficient light output than my current HW55ES. In your opinion would it be a good option to buy an anamorphic lens regardless of the pj I end up with? Which lenses are good enough and capable of doing 4K without loosing too much detail in the extra layers of glass? I’ve been looking at Prismasonic for some time but never played around with it myself. They’re much cheaper than than Schneider optics and other high end variants.
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post #204 of 246 Old 03-08-2019, 06:14 AM
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Originally Posted by skc3361 View Post
I’m a bit concerned about total lumens or nits when using a large AT screen. Eventually I’ll be buying a new pj and hopefully they will have more sufficient light output than my current HW55ES. In your opinion would it be a good option to buy an anamorphic lens regardless of the pj I end up with? Which lenses are good enough and capable of doing 4K without loosing too much detail in the extra layers of glass? I’ve been looking at Prismasonic for some time but never played around with it myself. They’re much cheaper than than Schneider optics and other high end variants.
I have quite a nice span of experience with both Schneider and Prismasonic and have to say that I would not recommend neither of those right now. The Schneider is certainly nice, and if you can get ahold of one used for a low price it might be an option, but even then, especially in rooms where you push the throw, in my experience even the medium ISCO-lenses might be somewhat problematic in terms of chromatic abberation. The best lens I have ever fiddled with is certainly the Panamorph DCR. It´s a smarter approach in terms of reducing the barrel effect, and also the lens that would provide you with the most possible light output combined with one of the 4K 4096 width panels from either Sony or JVC. It´s not perfect either, some barrel will occur in most circumstanced, but I was unable to see chromatic issues, and the sharpness also seems quite good. "Only" issue is the cost......

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Originally Posted by skc3361 View Post
Played a bit with the newest Panasonic uhd player at a friends house who has a Sony VPL-VW360ES pj and never really got the hdr tone mapping feature to work properly. I’ll be doing a bit more testing and research. He just ordered the new VW570ES. The old didn’t work with a dcr lens on 4K material. The pj couldn’t cope with the vertical stretching on 4K. The newer models supposedly can do this.
Sure, HDR is certainly hard to display properly, I am very pleased with both JVC N-series and actually the new Epson TW9400 (Pro Cinema 6050 in the US) in terms of internal HDR mapping, and I agree the Panasonics UHD players at times does come out a bit "off"...

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post #205 of 246 Old 03-17-2019, 12:42 PM
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Hi, looking to do a DIY AT 140" diag 2:39:1 screen for either the JVC NX7 or NX5. Not sure which one to go with yet. The throw distance is 16 ft and the viewing to first row of seats is about 10 feet. How would I mount the DreamScreen Ultraweave AT on 1 x 4 poplar boards? Staple? Or another mounting method. It will be a frame less setup as the screen will be surrounded by false panels wrapped in SY Fabrics Triple Black Velvet. The room is a bat cave, 100% light controlled. Will I have any issues with lumens? I wasn't going to install a Paladin DCR lens so hopefully the light output would be ok.

Dedicated HT Equipment: Klipsch RF82BK L+R Speakers|Klipsch RC62BK CC Speaker|Definitive Technology B92X Surrounds|NHT Super One Rear Surrounds|4 Polk MC80 Ceiling Atmos|Velodyne VLF 1012 and Definitive Technology PF1500TL+ SWs|Marantz SR7012 Receiver|Yamaha RXV1800 Receiver for Atmos|JVC RS2000 Projector|Seymour Center Stage UF AT 140" diag 2:35 Screen on DIY frame and false front wall
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post #206 of 246 Old 03-17-2019, 01:55 PM
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Hi, looking to do a DIY AT 140" diag 2:39:1 screen for either the JVC NX7 or NX5. Not sure which one to go with yet. The throw distance is 16 ft and the viewing to first row of seats is about 10 feet. How would I mount the DreamScreen Ultraweave AT on 1 x 4 poplar boards? Staple? Or another mounting method. It will be a frame less setup as the screen will be surrounded by false panels wrapped in SY Fabrics Triple Black Velvet. The room is a bat cave, 100% light controlled. Will I have any issues with lumens? I wasn't going to install a Paladin DCR lens so hopefully the light output would be ok.
Hi @den110 ! A friend of mine just did a test on the N5 at our Norwegian site AVforum.no, and although he owns a NX9 himself he was quite impressed. The Google translated version of the test can be found here: https://translate.google.com/transla...s%2F%3Fp%3D297. As for N7, you might get a bit more contrast, but the advantages - at least in my opinion, are less when using a large screen like yours as you would probably not engage the colour filter and run with both irises open. Anyhow...!

As for the UltraWeave; we always recommend using our grip rails. It makes proper tension much easier to obtain and is custom designed to be used with our fabrics. Rails are required if you´re installing one of the new TextileShield versions as the layers buildup on that version requires continuous tension, while rails are optional for the regular V6 (the non-textileshield). The rails are easily glued onto just about any surface, and you can also add some additional nails to secure 100% if needed be. We also recommend using out custom made installation tool (even has fancy name too; the one and only UltraTucker) to get that fabric properly down into the rails.

As for lumens and a 140" wide V6, I guess you´d end up with about 20fl or so using the N5 / N7, but due to the internal tone mapping the light from these N-series JVC´s produce far more pleasing images than those figures normally might entail. My personal opinion is that it would look great in a bat cave like yours. Sure, you could drop AT and do a positive 1.3 gain PVC, you´d be able to pull the light up to 27 or so fl, but you´d still need to properly tone map the image and you would forfeit AT and also have potentially speckle and/or sheen. You can also hope for those DCR lenses going on sale at some point and basically "null" the gain difference... I guess it´s all about priorities, but my honest opinion at least - is that HDR at 140" width with the V6 + N5 / N7 would look very dynamic and pleasing for most viewers. SDR, of course, would be at reference level...

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post #207 of 246 Old 03-25-2019, 01:19 PM
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plus it produces cool-looking aesthetics to the extent that I even use specialist rectangular framing lighting to illuminate them when the projector is not in use, as shown in these illustrations for example... So why hide your awesome looking big 18" subs behind the screen when you can show them off in an 'In-Your-Face' design style! :
Spoiler!


Two questions:

1 - Where can I find this lighting?
2 - Do you do anything to 'hide' the subs when the projector is on? Or do you rely on the absence of light in the room?

Cheers
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post #208 of 246 Old 03-25-2019, 02:39 PM
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[/SPOILER]

Two questions:

1 - Where can I find this lighting?
2 - Do you do anything to 'hide' the subs when the projector is on? Or do you rely on the absence of light in the room?

Cheers
Since this is off topic, I have sent you an email

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post #209 of 246 Old 03-29-2019, 04:08 PM
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Quote:
Originally Posted by den110 View Post
Hi, looking to do a DIY AT 140" diag 2:39:1 screen for either the JVC NX7 or NX5. Not sure which one to go with yet. The throw distance is 16 ft and the viewing to first row of seats is about 10 feet. How would I mount the DreamScreen Ultraweave AT on 1 x 4 poplar boards? Staple? Or another mounting method. It will be a frame less setup as the screen will be surrounded by false panels wrapped in SY Fabrics Triple Black Velvet. The room is a bat cave, 100% light controlled. Will I have any issues with lumens? I wasn't going to install a Paladin DCR lens so hopefully the light output would be ok.
Hi Den. I'm going for a very similar setup in a new build - NX7, batcave, 16' throw, 10"-12" viewing distance - and would be very interested in what you go for and any impressions. I'd offer the same but am about a year or so away from completion.
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post #210 of 246 Old 04-11-2019, 06:06 PM
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Then it’s certainly also a matter of content quality, I see Netflix was mentioned, and although their overall quality has improved over the years, I agree that low bandwidth material might often be an issue with low seating-to-screen widths ratios. One solution as such would be to use a masking frame, and mask your 2.40:1 native image down to a smaller (in width that is) 16:9 when using sources like Netflix. One issue in terms of Netflix specifically though, is their aspect ratio being neither 16:9 nor 2.40:1, but somewhere in between, so our 2.40:1 masking screens that uses a fixed width of the masking panels to keep cost down would not be "perfect". Still, the new JVC N-series (native 4K), for example, has a very nice, new feature now that allows for custom digital masking for each format chosen, so that you can clip off some of the pixels at each side of the image when masking to 16:9. I mean, other masking solutions with adjustable side masking would be more flexible in such regards, but also cost quite a bit more, so it´s all give and take - and in my opinion keeping it as simple as possible in terms of overall operations of the system is also an important factor (i.e. not having to adjust the masking for a bunch of formats all the time).

Evidently Netflix uses an aspect ratio of 2:1 for much of it's original content. It will be interesting to see if the other online creators use that ratio, and if so it may become more and more relevant as they create more content. In the future a 2:1 screen with 4 way masking out to 2.40:1 and 16:9 may be the way to go. Crazy...
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