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Discussion Starter #41 (Edited)
That looks good in person ?? It seems like the projector is horribly out of focus to me. The rest of the room is in focus, but the screen images just blurry brown and blurry black. Your pics of the previous small scrap screen didn't have that problem, so I assume it is an out of focus projector, yes ? If that is "Fury" is looks hopelessly muddled for a daytime shot.
If you look more closely at the room you'll notice the focus all around isn't very good, plus the character on the right is fogged from the movie's depth-of-field effect focusing on the characters farther in. I didn't realize the bad focus until now (was previously looking with a really small screen before) so that kind of sucks.
It looks good in person, yes..though dim at around 5ftL as expected from a 150lm PJ filling a 30ft-square surface.

That is a very interesting comparison shot of the different surfaces. The Gunmetal is not as much darker than the Pro-Grey as I expected and I am surprised by the amount of mica flakes visible in all the samples. Of course, I am one of those who finds the sparklies on the Carl's Silver completely unacceptable, but those in the Pro-Grey and Flexi-Grey didn't bother m at all. I hope the Gunmetal is on the right side of my tolerance level. How much Pearl would it take before the shade was as light as the Sterling ? And would that mix of G&P still be more sparkly than the pure Sterling ?

I just got out my Carl's samples. Your pictures make the Flexi-Grey look much darker than my sample pack from Carl's. If the Gunmetal is really lighter than that, then I am totally confused. I was expecting it to be much darker than even the Carl's ALR sample, but Flex-Grey is already lighter than duct tape and your pic of Gunmetal looks lighter still. You said from the beginning that this was one of the darkest mixes you'd tried, but I would not consider the Flex-Grey or Pro-Grey to be "dark" at all.
The ProGrey/FlexiGrey/FA sufaces look roughly the same shade in the texture comparison because this is shot from the incident angle with light hitting them straight-on to highlight any sparkling..You hit samples with light from the side or general ambient light to show differences in color.

Imagine if you shot a picture comparing duct-tape and Pro-Grey with a light hitting both straight-on so your view catches the somewhat glossy reflection of the duct-tape..the picture would show the tape to be a good deal brighter than ProGrey despite the opposite being true when they're hit with general ambient light or light from the side. This is the same type thing, light is hitting them straight enough to show more brightness from their gain rather than their shade/color.

The pictures make the FlexiGrey look dark because the camera is metering for the much brighter Carls Silver material and trying to fit all these dynamic ranges into the same shot.
It's not a color comparison and it's not a good gain comparison either..it's just a texture comparison.

Thanks for bringing it up though, I didn't realize folks might make that leap to think these are a good indication of sample colors, so that's good to be forwarned about.
It's a good reason to have other perspectives (such as yours) on my posts/pictures where I tend to forget things may not be clear enough on what is and isn't being shown since I know what I'm aiming for and sometimes forget to post the exact details. Aka, forum readers aren't mind-readers..post text to fill in what's being shown, self.

I can doublecheck to see exactly what ratio nails that shade, but I believe a ~4:1-5:1mix of Pearl:Gunmetal should get pretty close to the shade of Sterling, and from what I've seen the mix won't be any more/less sparkly than the Sterling as long as the color ends up pretty close (the lighter shades have less desparity between the brightest point of the mica/flakes and the darkest parts between them)..and the gain should balance out about the same as well.
 

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Imagine if you shot a picture comparing duct-tape and Pro-Grey with a light hitting both straight-on so your view catches the somewhat glossy reflection of the duct-tape..the picture would show the tape to be a good deal brighter than ProGrey despite the opposite being true when they're hit with general ambient light or light from the side. This is the same type thing, light is hitting them straight enough to show more brightness from their gain rather than their shade/color.

The pictures make the FlexiGrey look dark because the camera is metering for the much brighter Carls Silver material and trying to fit all these dynamic ranges into the same shot.
It's not a color comparison and it's not a good gain comparison either..it's just a texture comparison.
That is odd because I associate "texture" with physical surface variation regardless of shade, as pictures of SilverFire appear lumpy. I feel zero texture on my sample of Carls except for the Pro-Grey/White. I see zero texture in your FA pics which I consider an advantage over the SF pics.

I guess my reading comprehension sucks today, maybe due to lack of sleep, but does that mean the Gunmetal is darker than the FlexiGrey in real life room lighting, or lighter ? You seem to be saying the camera is making all the shades except Silver appear much closer than they are. Is the Gunmetal just a smidge darker than FlexiGrey or a lot darker ? In earlier posts, on-axis room lighting made the Gunmetal appear much darker. I almost ordered a dozen bottles of G&P on Amazon last night but didn't because I have to find something else to buy to get free shipping. Now I wonder if G&P are really what I want or not. I am a little surprised it would take 3:1 P to be the same shade as S, as that implies S is much lighter than I expected. I want as dark as I can get 1.0+ gain without sparklies.

Ps. After my comment earlier about temps in the 90's we got a lighting and thunder storm last night that kept me from sleeping, hence the lack of reading comp.
 

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Discussion Starter #43
That is odd because I associate "texture" with physical surface variation regardless of shade, as pictures of SilverFire appear lumpy. I feel zero texture on my sample of Carls except for the Pro-Grey/White. I see zero texture in your FA pics which I consider an advantage over the SF pics.
My fault then, I was mostly lumping together the physical texture and the grainy texture aspects (which can appear similar to physical texture like in the case of Carls Silver which can resemble a sandpaper-textured glossy wall).

The FA samples are very smooth physically, but the darker shades can still show a small amount of sparkle/gain graininess that resembles texture if you're sensitive to seeing it..although even with the pure Gunmetal the grain is a good ways less visible than Carls Silver and the lighter-colored you go with the FA+poly, the more invisible that little sparkling becomes.

I guess my reading comprehension sucks today, maybe due to lack of sleep, but does that mean the Gunmetal is darker than the FlexiGrey in real life room lighting, or lighter ? You seem to be saying the camera is making all the shades except Silver appear much closer than they are. Is the Gunmetal just a smidge darker than FlexiGrey or a lot darker ? In earlier posts, on-axis room lighting made the Gunmetal appear much darker. I almost ordered a dozen bottles of G&P on Amazon last night but didn't because I have to find something else to buy to get free shipping. Now I wonder if G&P are really what I want or not. I am a little surprised it would take 3:1 P to be the same shade as S, as that implies S is much lighter than I expected. I want as dark as I can get 1.0+ gain without sparklies.

Ps. After my comment earlier about temps in the 90's we got a lighting and thunder storm last night that kept me from sleeping, hence the lack of reading comp.
In most lighting (except when a lot of light is hitting the screen from the same general direction/angle as the projector) the Gunmetal is a noticable amount darker-colored than CarlsALR and quite a ways darker-colored than ProGrey/FlexiGrey.

The FA Sterling is lighter than CarlsALR and a little darker than ProGrey/FlexiGrey, while a 1:1mix of Gunmetal and Pearl is close to CarlsALR but a little darker...so a 2:1 or 3:1mix of Pearl:Gunmetal will get closer to the color of Sterling.

Keep in mind that your own setup didn't seem to be showing most of the CarlsSilver gain nor their ALR material's ~1.1-ish gain, and this paint shouldn't really be much/any different assuming your screen and projector angle are still the same where it isn't sending the peak brightness toward your seated eyeballs (assuming that's the case).
A more aggressive screen than CarlsALR will suffer an even dimmer image if your screen/PJ/seating isn't setup for ideal brightness from an angular-reflective screen.
Even a less aggressive ALR screen will still lose some of that cool "brighter than you'd expect from a surface of that color" effect, if it isn't setup/angled for maximum brightness.
 

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Discussion Starter #44 (Edited)
It's looking like a 4:1mix of Pearl:Gunmetal is about the same as Sterling..maybe just a little darker-colored than Sterling.

A 2:1mix of Pearl:Gunmetal or a 1:1:1mix of Pearl:Sterling:Gunmetal seems to hit a nice point centered visually between Gunmetal and Sterling alone...landing close to the shade of CarlsALR or a little darker.

Keeping in mind that Sterling alone is already darker-colored than Carl's ProGrey/FlexiGrey and so is almost any mix of a little Gunmetal with a lot of Pearl...practically ANY mix of these FolkArt paints besides Pearl alone will result in a screen that's darker-colored than ProGrey/FlexiGrey AND higher gain (typically a little over 1.0gain).

If your local Michael's/Joanne's or Walmart only has a couple of each FolkArt metallic, grabbing two of each (Pearl/Sterling/Gunmetal) and mixing the ~12oz of metallic with 12oz of water-based matte poly and 11oz-12oz water will let you cover a 48square-foot surface (around 125"-130") with a positive-gain screen that's slightly darker-colored than BlackFlameX1 or CarlsALR.
If you prefer a lighter-colored and less aggressive screen you can simply trade away some Gunmetal in exchange for more Pearl and/or Sterling.

With about $25 of paint which dries fast and smooth for extra-easy spraying of fast/light coats or dusters.
Plus the mixes are very forgiving of using too much or too little poly, so tedious super-careful measuring isn't a big worry either. :D


I plan to try painting onto a roll of plastic, next. My 98" panel screen is a pain to move around, and I'd prefer a light-weight screen that I can just roll onto a poster-tube and toss in a corner.
 

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If your local Michael's/Joanne's or Walmart only has a couple of each FolkArt metallic, grabbing two of each (Pearl/Sterling/Gunmetal) and mixing the ~12oz of metallic with 12oz of water-based matte poly and 11oz-12oz water will let you cover a 48square-foot surface (around 125"-130") with a positive-gain screen that's slightly darker-colored than BlackFlameX1 or CarlsALR.
If you prefer a lighter-colored and less aggressive screen you can simply trade away some Gunmetal in exchange for more Pearl and/or Sterling.
Michael's was close to dinner so I picked up two bottles each of Gunmetal and Pearl tonight. They didn't have a matte Poly, so I will have to go to Lowe's or HD and get some Rustoleum Matte Poly as well as framing materials for the 5x3 test panel I plan to play with. I will stretch the "black denim" I bought over the frame and spray that like a painter's canvas. I am curious how that will work as a substrate. I don't expect to have the problem with runs you did on TW melamine or as you might spraying a plastic you can roll up. If I like it, that 5x3 panel might end up in my bedroom someday. I only intend to make 12oz of Gunmetal and a separate 12oz of Pearl White and test each separately.

I came across some of your comments on the Carl's ALR thread from early in the year about how orientation changed the viewing cone on the ALR material. Have you ever noticed any difference orientation makes on these painted panels ? It would be weird if spraying a vertical fan across the surface you get a different lay of mica than a horizontal fan painting with vertical passes.

I also read all the talk about angle of projection vs viewer, etc. and admit I had not though about it. My W1070 is still sitting on my couch next to me while I work on my new room. So it is only about 10" lower than my eye level tilting down to hit the bottom of the screen 6" LOWER than that. Yet I've not noticed trapezoid that exceeds my 2" velvet border. At any rate, the projection angle and angle to my eyes is nothing like what it will be when properly ceiling mounted with the screen 6" below lens. In my pictures of Carl's samples, the camera was only about 12" above the lens and close to on-axis horizontally. What all this means, I have no idea, but your warning about angles is just another reason to build a panel large enough for me to really see anything. In fact, the 5' length will let me rotate it and sit within my Vutec frame covering 1/3rd of the width of my white screen at a time, so I'll see what it looks like to left and right of center as well as on-axis.
 

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Discussion Starter #46 (Edited)
The orientation/rotation effect on gain-slope of CarlsALR is somewhat subtle (I found it immediately visible upon comparison but the company itself didn't realize it..so it's there but not night'n'day), and a rolled metallic screen does show an even smaller though still present change from orientation as far as I've seen, but I haven't noticed a visible change from rotating a sprayed sample.
I would say "no" to that causing a noticeable difference by my findings so far, but I DO find a horizontal spraying pattern to be a little easier personally.

I'm sure you've already heard me warn about this, but I'm quite certain the denim/material's natural texture from its round threads will significantly lower the paint's gain..not that you can't or shouldn't try it for a test, I'm just warning of what I've noticed seems to happen.

Once your projector is ceiling-mounted and your pictures are taken from around seating distance and seated head-height I do think the brightness/gain from all your samples should improve quite a lot. Right now most of their gain is aimed toward the ceiling or above the seats instead of your seated head-height.
 

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I'm sure you've already heard me warn about this, but I'm quite certain the denim/material's natural texture from its round threads will significantly lower the paint's gain..not that you can't or shouldn't try it for a test, I'm just warning of what I've noticed seems to happen.
Well, I'll paint a scrap of cardboard as well to see the difference. If you remember, I was disappointed in the denim because it is thin. As in, thinner than a bedsheet, thinner than any dress shirt I ever owned much less any denim shirt. It has about as much texture as a 400 thread count bedsheet and less texture than the smooth side of Carl's BOC. I wasn't disappointed in its texture but in its potential fragility when I was expecting something heavy like jeans material that would have needed several rolled layers of unthinned primer to smooth it prior to painting with these thin mixtures.

What do you think of cutting a slot all the way around the edge of a wooden frame to use with screen spline to hold material in ? I think if I tilt the blade on my table saw just a tad to get a wider bottom using two passes 1/2" deep it will function the same as screen tight without the need to attach screen tight on the back side. It just seems so much more forgiving than staples.
 

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Dreamer,

You seem determine to try to paint onto the Denim Cloth. I will be more succinct:

Bad Idea. Poor Test with Poor results. A waste of Time & Money.

It's a case where I'd not mind being proven wrong, but I myself wouldn't bother knowing there are other far better substrates to use.

BTW...Carls Flexi-White is the Cloth substrate to use......
 

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Discussion Starter #49
I really like the sound of cutting your own screen-tite spline slot into the frame.
I'm worried it'll start out rough and need some sanding in order to avoid making a rip/run in the material being splined into it, and it sounds kind of tricky to sand into a small gap like that.
But, if you can make it work it should be really clean and low-profile..and save some money too.

I admit that I forgot what you mentioned earlier about the cloth. I doubt it'll end up making enough difference, but it's not like you're doing it with wide bright smiles only for a crushing let-down. It's a test..a longshot, but it's not going to break your wallet nor spirit so there's little harm.
Plus it gives you something to possibly test the built-in slot idea, so that's cool regardless of whether the material/surface works out or not.
 

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Ftoast, sorry for the late. I´m outside North America, passed 31 days to FA gunmetal arrives in my home and sorry for my english.

It´s very hard "impossible" to find Water-Poly in my country. i had to use flat deep base for tests, in this test is used a very small mdf piece with 2 mix:
Left (1 part FA Gunmetal; 1 part Flat-Matte Base; 1 part Water)
Right (1 part FA Gunmetal; 1 part Flat-Matte Base; 1 part Water and a small quantity matte white)

Note1: Room is dark, 20% of time i will use with this ambient light (PIC1) and 80% night time, no light.

(PIC1 - Projector Off / low ambient light)


(PIC2 - Projector On / low ambient light / sample white image)


(PIC3 - Projector On / low ambient light / sample image)


(PIC4 - Projector On / low ambient light / sample image (Black level is f*k amazing comparing with poor White Screen :D))


(PIC5 - Projector On / Full ambient light / sample image (Can´t see nothing, poor projector :()

Note2: My primary objective is increase black level more than ALR use, my projector has low contrast.
(using this easy folk art mix this objective is 100% done, the black levels are absolutely fantastic)

Questions:
1. Is there a way (mix) to mantain this black and optimize the white?
2. Comparing with Ftoast pictures i can´t see anything here with ambient light, not even 1% lol:D. The problem with ambient light is my projector, mdf, mix?

Specs:
-Optoma HD65 DLP Projector
-117" White matte screen
-Throw distance ~13ft (ceiling mount)

Thanks for the help :)
 

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The existing screen? Not intended for ambient light...at all.
The Mix? Well it should be able to improve Blacks....it's doing so by attenuating all light that hits the Sample's surface. All light, including the light you want to preserve at a higher level.

That is the trick... actually Improve Blacks without crushing Whites and Colors....which is unfortunately what is seen happening. Not only that but shadow detail would be non existent on a full sized screen. Of course one issue is the sample sizing....unless you offered up a number of shots with the Samples positioned in varied locations, there is actually not a lot to go on.

Water based Clear or Satin Floor Floor Finish is what most find to use in the EU.

But the Gunmetal......IMHO it's not even close to what you want. The only way to salvage the paint you have would be to add at least 15% more White Base (not Deep Base) and get some Pearl Metallic (20%) in there. Do not add anymore Silver lest it further darken your Mix.

If you cannot locate what you need, just ask and perhaps someone on here might get some to you.
 

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The existing screen? Not intended for ambient light...at all.
The Mix? Well it should be able to improve Blacks....it's doing so by attenuating all light that hits the Sample's surface. All light, including the light you want to preserve at a higher level.

That is the trick... actually Improve Blacks without crushing Whites and Colors....which is unfortunately what is seen happening. Not only that but shadow detail would be non existent on a full sized screen. Of course one issue is the sample sizing....unless you offered up a number of shots with the Samples positioned in varied locations, there is actually not a lot to go on.

Water based Clear or Satin Floor Floor Finish is what most find to use in the EU.

But the Gunmetal......IMHO it's not even close to what you want. The only way to salvage the paint you have would be to add at least 15% more White Base (not Deep Base) and get some Pearl Metallic (20%) in there. Do not add anymore Silver lest it further darken your Mix.

If you cannot locate what you need, just ask and perhaps someone on here might get some to you.
Thanks MississippiMan, fast reply :)

I did more tests, the throw distance and maybe the lumens make big difference here. Reduced the throw to 8ft the white is now ~80% better and the black level still there... and the ALR now works fine (now i see Harley in daylight :D:D)

Maybe my current setup "projector" is not good for ALR, is a old (1600lumens 4000:1 projector) and ~13ft throw projection don´t help too much.

Anyway thanks for the help, and yes i will do the tests did you passed (White Base and Pearl Metallic), like i said my intention is increase the black level and this FA mix did a very good job.

Let's moving forwards ;)
 

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Discussion Starter #53 (Edited)
Ftoast, sorry for the late. I´m outside North America, passed 31 days to FA gunmetal arrives in my home and sorry for my english.

It´s very hard "impossible" to find Water-Poly in my country. i had to use flat deep base for tests, in this test is used a very small mdf piece with 2 mix:
Left (1 part FA Gunmetal; 1 part Flat-Matte Base; 1 part Water)
Right (1 part FA Gunmetal; 1 part Flat-Matte Base; 1 part Water and a small quantity matte white)

Note1: Room is dark, 20% of time i will use with this ambient light (PIC1) and 80% night time, no light.

(PIC1 - Projector Off / low ambient light)


(PIC2 - Projector On / low ambient light / sample white image)


(PIC3 - Projector On / low ambient light / sample image)


(PIC4 - Projector On / low ambient light / sample image (Black level is f*k amazing comparing with poor White Screen :D))


(PIC5 - Projector On / Full ambient light / sample image (Can´t see nothing, poor projector :()

Note2: My primary objective is increase black level more than ALR use, my projector has low contrast.
(using this easy folk art mix this objective is 100% done, the black levels are absolutely fantastic)

Questions:
1. Is there a way (mix) to mantain this black and optimize the white?
2. Comparing with Ftoast pictures i can´t see anything here with ambient light, not even 1% lol:D. The problem with ambient light is my projector, mdf, mix?

Specs:
-Optoma HD65 DLP Projector
-117" White matte screen
-Throw distance ~13ft (ceiling mount)

Thanks for the help :)
Thanks for the pictures and writing back. I'm glad you're still here even though the paints are harder to get where you are.

Two or three different things are probably hurting things right now.

Is there a safe way for you to hang or lean the sample closer to the center of the white screen?
All dark-colored paint mixes will dim the image toward the edges of the screen enough to show a big difference compared to a white screen (mississippi will deny it, but the few times he's shown his own mixes against a white screen you can see his mixes dimming toward the side positions). Although moving to the top or bottom of the screen isn't as dark as moving to the far left/right sides, it'll still be darker than the middle area should be.
Normally the difference between the center and the sides isn't big enough to see with your bare eyes once it's a full screen without the white screen being there to show how different they are. That's why you don't usually hear people complaining about their ALR screens being dimmer at the sides/edges, they won't notice unless they compare the sides/edges against a white screen or white sample.

Did you paint onto a white-colored MDF panel or bare wood or a darker-colored panel?
Because this mix is so translucent, painting onto a white surface is almost always better and brighter than painting it onto a dark-colored surface.
If your sample's surface was dark-colored, I'd try spraying the un-used back of it with white paint (make sure it's smooth first) and THEN spray the mix onto the white sample using several very thin coats.

I just recently found out that even Walmart is selling matte water-based poly. It doesn't say anything about being water-based on the can, BUT you'll see that it says "soap and water clean-up" instead of requiring paint-thinner to clean. The untinted deep-base will work alright, but matte-poly dries smoother and a little nicer.
If you're able to find Matte-Finish poly at any stores, it's very likely water-based (I haven't yet seen a matte-finish oil-based poly), so take a quick look at the can to see if it also says "soap and water clean-up. ...if you'd like to try this with poly.

Adding some FolkArt metallic Pearl and/or metallic SterlingSilver is better than adding a little flat/matte-white to the mix. Either one will lighten the color of the mix a little (or a lot if you add a lot), but the matte-white will also dim the gain.
If you've got a local water-based metallic that you'd like to try adding, that would also be better than adding matte-white or any other flat/matte paint.


Sorry about all that. Mostly I want to know if your sample was white or dark-brown before you painted it, and see if you'd be able to safely hang or balance the sample closer to the screen's center for a picture or two.
Seeing the sample closer to the center (as flat against the screen as you can make it and viewed from about the same spot as these pictures you've posted already) will help me know if your sample ended up dimmer than mine or if it's dimming more noticably toward the edges than mine have been.
 

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Thanks for the pictures and writing back. I'm glad you're still here even though the paints are harder to get where you are.

Two or three different things are probably hurting things right now.

Is there a safe way for you to hang or lean the sample closer to the center of the white screen?
All dark-colored paint mixes will dim the image toward the edges of the screen enough to show a big difference compared to a white screen (mississippi will deny it, but the few times he's shown his own mixes against a white screen you can see his mixes dimming toward the side positions). Although moving to the top or bottom of the screen isn't as dark as moving to the far left/right sides, it'll still be darker than the middle area should be.
Normally the difference between the center and the sides isn't big enough to see with your bare eyes once it's a full screen without the white screen being there to show how different they are. That's why you don't usually hear people complaining about their ALR screens being dimmer at the sides/edges, they won't notice unless they compare the sides/edges against a white screen or white sample.

Did you paint onto a white-colored MDF panel or bare wood or a darker-colored panel?
Because this mix is so translucent, painting onto a white surface is almost always better and brighter than painting it onto a dark-colored surface.
If your sample's surface was dark-colored, I'd try spraying the un-used back of it with white paint (make sure it's smooth first) and THEN spray the mix onto the white sample using several very thin coats.

I just recently found out that even Walmart is selling matte water-based poly. It doesn't say anything about being water-based on the can, BUT you'll see that it says "soap and water clean-up" instead of requiring paint-thinner to clean. The untinted deep-base will work alright, but matte-poly dries smoother and a little nicer.
If you're able to find Matte-Finish poly at any stores, it's very likely water-based (I haven't yet seen a matte-finish oil-based poly), so take a quick look at the can to see if it also says "soap and water clean-up. ...if you'd like to try this with poly.

Adding some FolkArt metallic Pearl and/or metallic SterlingSilver is better than adding a little flat/matte-white to the mix. Either one will lighten the color of the mix a little (or a lot if you add a lot), but the matte-white will also dim the gain.
If you've got a local water-based metallic that you'd like to try adding, that would also be better than adding matte-white or any other flat/matte paint.


Sorry about all that. Mostly I want to know if your sample was white or dark-brown before you painted it, and see if you'd be able to safely hang or balance the sample closer to the screen's center for a picture or two.
Seeing the sample closer to the center (as flat against the screen as you can make it and viewed from about the same spot as these pictures you've posted already) will help me know if your sample ended up dimmer than mine or if it's dimming more noticably toward the edges than mine have been.
Hi Ftoast. Tnx for reply

I will do another test with centered sample. MDF was white colored before apply FA mix.

"I just recently found out that even Walmart is selling matte water-based poly. It doesn't say anything about being water-based on the can, BUT you'll see that it says "soap and water clean-up"" humm, thanks for the tip.

"Adding some FolkArt metallic Pearl and/or metallic SterlingSilver is better than adding a little flat/matte-white to the mix." After find this material i return with the tests.

About the last picture with full ambient light... yes, there is a BIG window near the screen and a large intensity of light reflect directly on screen. This picture was take in cloudy day

Thank You
 

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Discussion Starter #56
Have you tried rolling this mix? I might make a second screen to use during the day and I think I'm going to try your method.
I have tried rolling this mix a couple times, but they turned out fairly ugly..not at all as nice as when it's sprayed.
I think rolling seems to work a little better with more potent/concentrated metallic that's matte'd down with flat paint instead of subtle/weaker metallic that's diluted with clear poly, but I haven't done enough testing to say with any real certainty.
This FolkArt metallic is definitely more subtle/less potent, and it can't simply be used in larger ratios like other metallics because it's also glossy.
 

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I have tried rolling this mix a couple times, but they turned out fairly ugly..not at all as nice as when it's sprayed.
I think rolling seems to work a little better with more potent/concentrated metallic that's matte'd down with flat paint instead of subtle/weaker metallic that's diluted with clear poly, but I haven't done enough testing to say with any real certainty.
This FolkArt metallic is definitely more subtle/less potent, and it can't simply be used in larger ratios like other metallics because it's also glossy.
Interesting. It looks like the 50 bucks for the sprayer is worth it then. And I have to spray my fence this weekend anyway! So that may all work out nicely.

I think I'll go for a 50/50 split with the gunmetal and sterling for a lighter mix, as my jvc rs45 will really only do 1200 lumens in brightest mode. Does that sound like a reasonable idea?
 

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Discussion Starter #58
Interesting. It looks like the 50 bucks for the sprayer is worth it then. And I have to spray my fence this weekend anyway! So that may all work out nicely.

I think I'll go for a 50/50 split with the gunmetal and sterling for a lighter mix, as my jvc rs45 will really only do 1200 lumens in brightest mode. Does that sound like a reasonable idea?
A couple warnings:
The $40-$50 sprayer in using works great for watery mixes like this but needs regular house-paint to be thinned a bit to floor through it while sprayers setup for unthinned paint tend to cough out watery mixes like this or apply them with orange peel texture. There are also guns that can switch well to work for either job, but they tend to ironically cost about twice as much. I haven't had issues with simply thinning paint a little for my Wagner Opti-Stain, but I don't know how you'd feel about thinning your paint for the fence..so that might be important to consider.
Unless I'm mixing you up with another AVS member, if you found Carl's ALR material to look too sparkly then you'll want to lean toward mix that's at least slightly lighter-colored than the Carl's ALR. I'd recommend a 25/75 split between gunmetal and the lighter sterling (and/or pearl) FolkArt metallic..with the small number being the gunmetal.
If I am mixing you up with someone else and you never saw an issue with Carl's ALR, then the 50/50 mix you mentioned should be fine depending on your screen-size (and depending on your 3D usage, if any).

If you think of any questions or get confused about anything, please ask.
 

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A couple warnings:
The $40-$50 sprayer in using works great for watery mixes like this but needs regular house-paint to be thinned a bit to floor through it while sprayers setup for unthinned paint tend to cough out watery mixes like this or apply them with orange peel texture. There are also guns that can switch well to work for either job, but they tend to ironically cost about twice as much. I haven't had issues with simply thinning paint a little for my Wagner Opti-Stain, but I don't know how you'd feel about thinning your paint for the fence..so that might be important to consider.
Unless I'm mixing you up with another AVS member, if you found Carl's ALR material to look too sparkly then you'll want to lean toward mix that's at least slightly lighter-colored than the Carl's ALR. I'd recommend a 25/75 split between gunmetal and the lighter sterling (and/or pearl) FolkArt metallic..with the small number being the gunmetal.
If I am mixing you up with someone else and you never saw an issue with Carl's ALR, then the 50/50 mix you mentioned should be fine depending on your screen-size (and depending on your 3D usage, if any).

If you think of any questions or get confused about anything, please ask.
That's all great to know! Yeah, I was saying that carl's alr had a little too much sparkly texture for me. I would probably be OK with it for a daytime only screen, but I may try the 25/75 mix first to see how I like that. I'll definitely buy a little more paint than I need so that I can test the mixes and also practice painting. In going to be going for about a 110" screen and I'll probably be painting over a white screen material.

IF I use something like carl's flexiwhite as the substrate, do I need to have it stretched and on the frame before painting it?
 

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That's all great to know! Yeah, I was saying that carl's alr had a little too much sparkly texture for me. I would probably be OK with it for a daytime only screen, but I may try the 25/75 mix first to see how I like that. I'll definitely buy a little more paint than I need so that I can test the mixes and also practice painting. In going to be going for about a 110" screen and I'll probably be painting over a white screen material.

IF I use something like carl's flexiwhite as the substrate, do I need to have it stretched and on the frame before painting it?
It would be best to paint onto the surface while it's pulled/stretched flat and straight.
110" shouldn't be a problem with a good 1200 lumens even if you want to go darker-colored..so it'll mostly be the sparkly sensitivity/visibility you'll want to keep an eye on.

The price of some paint and FlexiWhite doesn't really beat the price of Carl's ALR by much, and unless you're choosing a paint-mix that's a decent ways darker-colored or lighter-colored you'll just end up with a painted screen that looks about the same as Carl's at best.
I'm glad you're willing to give this a shot, but I don't want you wasting money on it for no real benefit.
 
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