How does this DIY screen compare to the SilverStar ?

And another: still need some work on even distribution of paint here. But - look at the bridge - the shadow level detail is better.

Maintaining (actually improving) blacks while increasing the whites to new levels: All shots are from my Sony HS10 with the cinema filter installed - low lamp power, no calibration done.

This shot shows the ambient light rejection of the screen:

here is another ambient light shot. Maybe I should not even call it ambient light - if you look at the picture the recessed light in the ceiling is aimed directly AT THE SCREEN - which is really a torture test !

the trick is in the application of the silver - the ddog formula was good - but I thought the silver was being drowned out with the white mixed in - but straight silver was overkill as well . the siver didn't really appear silver in the mixture - it looked gray when I was done with it - and at about $80/gal for that behr silver - I wanted silver - not gray. So I began to experiment with the procedure and here is what i found:

1) give 2-3 good solid coats of pure bright white paint (semi gloss is fine - but don't hesitate to use full gloss if you really want a fireball!!!)


2) let the base white dry - then apply the glaze - Don't let the glaze dry


3) while glaze is still nice and wet - its now time for the silver bullet ! this is the most difficult step - you want to "dust" the screen with a fine coat of the silver paint


that's it - its fast and does create significant gain over the origianal ddog procedure


Having said this - I'm pretty sure that you CANNOT roll on the last step - it needs to be sprayed - also, the glaze should be sprayed - you want an automotive cleat-coat appearance with the glaze step. You want to just mist the wet glaze with the silver coat as to not cover the glaze and white - this allows the best of both worlds - it give fantasic whites while somehow that thin coat of silver does indeed reject the ambient light while also enhancing blacks.


I am about to the point where I have this technique perfected - Again - the skill comes in when you put on the silver - too much or too little - and you will have hot spot city !


The wet on wet technique of the silver and glaze allows the silver to just imbed itself in the glaze while allowing the bright white to do its part


I was amazed at the light rejection I got from this technique.


Well - there you have it ! Let me know how it goes!!



ddog - Maybe between your new formula and my derivitive of your first formulation - we will create the Silverstar killer


I can see it now "Silver Screens for the Masses"