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I ended up going with a 135” qualgear AT from Amazon, it was open box for $130! I was skeptical but holy shot is it great! I put black felt behind the screen and felt tape on the crossbar and I am blown away, no moire at 1080/fauxK. I know this doesn’t help you much but it’s great.
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In considering a 110 Silver Ticket screen. Can anyone tell me, does viewing distance sensitivity stay constant the bigger and further back you go, or does it become more or less forgiving?

In other words, just for an easy example, if sitting 10 feet from a 12 foot (16:9) screen bothered you, then is it automatic that sitting 100 feet from a 120 foot (16:9) screen would also bother you, or even though it's the same ratio, does it become more or less forgiving as the distance and size increase?
 

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Awesome post. I know its old. However, it seems you chose a 1.3 Raw.

I have the 1.1 matte white with Epson 5050ub in a light controlled environment. It looks really good in most situations, but the black levels drive me a little nuts in darker scenes (think Mandalorian). I'm considering moving to the HC Grey, but am pretty shocked by the amount of drop-off you see here.

Some questions:
  1. Given the gain of the HC Grey and Matte Grey are similar, would the regular grey be a better choice?
  2. Is the silver glossy side even usable?
Are you saying the Silver Ticket white material is responsible for bad blacks, or is it your room not being treated? I was told the ST 1.1 white is the same as the 1.0 elite white most likely, in other words it is neutral and should not negatively affect black levels of the projector. Is this not the case?
 

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Are you saying the Silver Ticket white material is responsible for bad blacks, or is it your room not being treated? I was told the ST 1.1 white is the same as the 1.0 elite white most likely, in other words it is neutral and should not negatively affect black levels of the projector. Is this not the case?
I have a 85% treated room*. I ended up switching to the SilverTicket HC Grey and I am a LOT happier. The blacks are great now. The downside is that it is definitely a bit dimmer and I have to crank up the HDR setting for HDR content to get more brightness. However, I've stopped obsessing over the lack of blacks and am enjoying my theater a lot more. In fact, on most widescreen content I don't even notice the black bars anymore because they are actually black.

* Treatment:
  1. I painted my ceiling with Sherwin Williams Tricorn Black
  2. My walls are a fairly dark grey
  3. I have total light control at night
  4. I have about 80% light control during the day
 

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I have a 85% treated room*. I ended up switching to the SilverTicket HC Grey and I am a LOT happier. The blacks are great now. The downside is that it is definitely a bit dimmer and I have to crank up the HDR setting for HDR content to get more brightness. However, I've stopped obsessing over the lack of blacks and am enjoying my theater a lot more. In fact, on most widescreen content I don't even notice the black bars anymore because they are actually black.

* Treatment:
  1. I painted my ceiling with Sherwin Williams Tricorn Black
  2. My walls are a fairly dark grey
  3. I have total light control at night
  4. I have about 80% light control during the day
Thanks for the advice. Im not sure that's 85% treated though. You had me worried that even 85% treated wouldnt do much good if it's not 100%, but your description is probably not 85% treated. I read that paint doesnt really do it even 25% like black velvet fabric, for example. But your room is much more treated than mine atm... lol. If its enough that the black bars blend in, then yeah that's the most important thing, that you can enjoy it without distraction.
 

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Scroll back a few pages or click the link in my signature and check out my write-up of the ST WVS acoustically transparent offerings. I've been extremely impressed with both the WVS and the 1.0 Grey, and would still be at 1.5-2x the price
I read your review. Great write-up! Were you able to compare the WAB and WVS side-by-side? I currently have the 120" WAB screen, and I'm quite happy with it for my 1080p projector. However, I am looking to upgrade to 4k soon. Would you say there is a big enough difference to warrant an upgrade from WAB to WVS? Silver Ticket has said that they are willing to sell me just the material as an upgrade for my existing frame, but they haven't gotten back to me with a price yet.
 

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I held them up side-by-side and could barely tell the difference. I'd wait until you upgrade the projector and see how it looks on the WAB... But I'm fairly certain you'd see little, if any, difference between the two. I'm pretty sure they just sent me both for the review since they already had the WAB packaged on the shelf and were just spooling up on the WVS material.
 

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Very interesting Stephen H. ^^

I, too, have a 120" 16x9 AT screen (WAB) that I bought in 2015. Wondered if swapping the cloth to the WVS fabric was worth doing, since I have upgraded to a JVC faux-4k projector. ST quoted me $360 for the cloth, but didn't really share much of an opinion about whether or not the difference would justify the cost. I didn't do it, since that was a big chunk of the price of a new screen.
 

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Back when I did the review, they didn't have much to say about the differences between the two either. It's almost like it's a dual-source situation... they have two suppliers so that one or the other is always in stock, and one just happens to cost a bit more than the other. This is PURE speculation, but it's odd that they didn't give either of us a compelling breakdown of the differences between the two.
 

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I'm looking at the Silver Ticket AT--I will be sitting around 12 feet away and likely using a LG Cinebeam HU810P. I suspect the Silver Ticket will be sufficient. But, if I change my mind, does anyone have any experience using the Silver Ticket frame and replacing it with Seymour AT fabric? Is that feasible?
 

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...does anyone have any experience using the Silver Ticket frame and replacing it with Seymour AT fabric? Is that feasible?
It would be difficult... the ST is folded/welted at the edges with a fiberglass rod that hooks on springs connected to the frame. That said, at ~12' with an Epson 4000, the WVS looks like a solid screen... the weave isn't visible at all. From a quick eye-test comparison, I couldn't tell the difference between the WAB and WVS either.
 
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It would be difficult... the ST is folded/welted at the edges with a fiberglass rod that hooks on springs connected to the frame. That said, at ~12' with an Epson 4000, the WVS looks like a solid screen... the weave isn't visible at all. From a quick eye-test comparison, I couldn't tell the difference between the WAB and WVS either.
The seymour can be manufactured with grommets. I wonder if the grommets could take the place of the folded edges; you could connect the springs through the holes.
 

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The seymour can be manufactured with grommets. I wonder if the grommets could take the place of the folded edges; you could connect the springs through the holes.
Possibly, but they would need to be pretty small grommets to catch the springs AND be hidden under the screen border.
 

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I am about to order silver tickets 135" AT woven screen. Anyone here using that specific screen?
 

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Hi I'm relatively new here and looking to upgrade my current media room. The room is 18'W x 24' L and am upgrading from a Sony HW40ES with a 120" 16:0 Screen to a 138" SilverTicket 2.35:1 screen. I really like the widescreen effect, but am torn over the projector to purchase. I've got a co worker that is selling his JVC RS440 which I know has better blacks for a great price and the Epson 5050UB. Currently, I know the Epson has greater lumens than the JVC, but I don't want to give up the contrast the JVC brings. I mainly stream by BluRay collection via Plex so it's mainly SDR content, but I have a few 4K movies that are in HDR. Since the current projector is 17' away from the screen will the RS440 as issues with HDR and it's brightness? I know I can get an Oppo or Panasonic BluRay but I'd rather stream the content. Also, I've heard that Plex offers Tone Mapping for HDR which should help on the brightness but it's still in Beta.

Should I go with the RS440 or just save for the NX5 that has built in tone mapping or is the 5050UB the best option since the screen is so large?
 

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I'd think his asking price on the JVC might play a role in the decision, as would light control and wall/ceiling/carpet color.

Calibrated and in high lamp mode, the JVC can do ~18FL in 2.35:1 and ~41FL in 16:9 (both 54" tall and at 17' throw). The Epson is definitely more, ~25 and ~44FL calibrated and in high-lamp, but I don't think you'll want to put up with the noise of the Epson in high lamp mode (I can't comment on the JVC). In low lamp mode, the Epson is ~15FL and ~26FL. If the JVC is equally as loud as the Epson in high lamp mode, you're down to ~14FL and ~24FL in low lamp mode.

By comparison, I'm getting ~17FL and 26FL respectively from my Epson 4000 on 128" 2.35:1 at ~13.5' in a room with black walls and a black ceiling pitch extending ~2' over the screen, but white walls and beige carpet. I notice the brightness drop as it transitions from 16:9 to 2.35:1, but it's not something I ever think about once I'm watching a film. I also never think to myself the 2.35:1 image isn't bright enough, and that's in a room that has much of the light control issues addressed (black walls, black pitched ceiling over the screen, highly effective blackout curtains) but still with some notable areas not addressed (light carpet, light ceiling). This would lead me to believe you likely wouldn't be disappointed by the JVC's brightness... assuming the price is right.
 
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