Originally Posted by lovingdvd
That's great to hear there is no timber lost with the speaker playing through the screen. Which screen material is it that you're using? How far away is your speaker sitting behind the screen? I will have the Center Stage XD and will have the speaker about 4-5" or so behind it (or a bit more if I can manage it).
It was the only
Seymour AT fabric available in 2011, i.e., Center Stage XD. The speaker is about 1 foot, or a little less, behind the screen, and very slightly above seated ear height. An engineer at a major speaker company tested CS XD fabric for a mutual friend, and found a transmission loss of about 1 dB at 16K Hz without
Audyssey. As I reported earlier, there is no loss at our place with
Audyssey, even with black backing that Seymour provides (as an option) in case there is a shiny object behind the screen that would pick up the projector light.
We sit about 12 feet away, and we cannot see the fabric texture -- not a trace -- from there, even with the finest grained movie. We sometimes walk over to about 8 feet from the screen to focus, and we can barely see the fabric pattern (nearly none) from there.
I'd like to share my biases with you. I am a strong advocate of 'scope shaped screens, because of their immersive properties, and their fidelity to filmmakers' intentions. Most filmmakers select an aspect ratio to fit their conception of the movie. True widescreen movies have an image larger in area and a wider true width than letterbox on standard HDTV screens, in which 'scope occupies a ribbon like band across the screen with large blank spaces above and below the image. So called "widescreen" HDTV sets and projection screens, at 1.78:1, are narrower in aspect ratio than the narrowest of theatrical narrow screen images, except for the old 1.37:1 that was around before 1953, and the largely European 1.66:1) Our screen is 130" wide (not diagonal) and has an aspect ratio is 2.35 to 1, which matches CinemaScope for most of its lifespan, and matches 35 mm Panavision, until they changed to 2.39:1 (commonly known in theater and movie publications by its nickname of "2.40:1"). The difference 2.39 makes is easily absorbed by the black borders of the Seymour. The common 70 mm aspect ratios look good as well, with just about 1" of space to either side of the image for Todd-AO's and Panavision 70's 2.2:1. Even the outrageous aspect ratios of Ultra Panavision 70 and Camera 65 (a handful of classic films) look good, with a space at the top and bottom that is much easier to ignore
than it would be if projected on a 16:9 (1.78:1) screen. Even Cinerama's simulated curved screen image of 2.89:1 (on BD "Smilebox") looks good, and sucks the viewer right in. I have counted 10 aspect ratios in all. There is no matching all of them, but 2.35:1 is very workable, IMO. And we thus avoid making big movies small, and small movies big, so to speak.
Our image, regardless of aspect ratio, is nice and bright, with the Panasonic projector 24 feet away. I should point out that we watch in total darkness, except for ambient light that bounces off the screen.
Seymour was very supportive when we bought our screen;
Chris and I exchanged about 3 emails, discussing practically every aspect of image quality.