Cream&Sugarô Ultra - Page 17 - Home Theater Forum and Systems -

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post #161 of 167 Old 06-13-15, 11:21 AM
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Question Re: Cream&Sugarô Ultra

Yiannis1970 wrote: View Post
If you roll, i would say to go with 2 coats.
Of each? I just painted a coat of Kilz and can see that a second would be a good idea. It took my whole quart of the stuff to cover my screen area: 9 3/4' x 5 1/3' (I'm allowing a few extra inches), so I'm going out to get another quart while that dries.

I'll be mixing up 75 oz of C&S Ultra - if I do two coats I'll have just enough, with none left over for patching dings to the screen later.

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post #162 of 167 Old 06-13-15, 12:31 PM
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Re: Cream&Sugarô Ultra

No, no...i mean 2 coats only for the paint...for the primer, one coat is more than enough.
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post #163 of 167 Old 06-13-15, 01:16 PM
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Re: Cream&Sugarô Ultra

Actually, I found that the first coat of primer (Kilz Premium water-based) looked less than uniform. I just did a second coat of primer that (a) went on much more economically than the first, leaving half of that quart in the can and (b) looks much more uniform.

I'm hoping that will mean that my 75 oz of C&S Ultra will be more than enough for two coats and leave me half a quart or so for patch work the next time it gets dinged.

The first ding, last summer, was when my wife tripped on the way into the theater while carrying a black-painted barbell that dug a gounge in the wall and left behind some black paint as well. That I patched with spackle and painted with some leftover Sherman Williams Luminous White - from seven years ago! It was brighter than the surrounding area but not noticable during most scenes, except for uniform bright areas that fell across the patch. It motivated me to get the Liquitex silver, which took so long that I didn't follow-through.

The second ding was two weeks ago, when I toppled one of my front mains off its stand trying to read its impedance off the back - and that info wasn't even there! I had to find it on the web. I didn't paint over that patch, which was a lighter shade of pale tan, but very small. That put me back into this project. I may finish the whole job today.
"They call Churchill a painter?!? The Fuhrer, he could paint an entire apartment in one day - two coats!" - from Mel Brooks' The Producers
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post #164 of 167 Old 06-13-15, 05:32 PM
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Question Counter-balancing errors

Since the Valspar can that I had found on their web site was 30, not 32 ounces, I had adjusted the amount of the magenta additive down from 115-0.67 to 115-0.625.

When I got to the Lowe's paint counter I didn't notice that the can was actually a full 32 ounces, and thus had them add the smaller amount of tint.

However, since my 32 ounces of Liquitex Acrylic silver was in eight 4 ounce tubes, when it came time to mix them, I realized that with the addition of less tint to the base to counterbalance the color of the silver, I could bypass the "rinse out the silver paint container with water" step. I took the outer cap off each of the tubes, squeezed it out as much as I could and then rolled it up from the bottom to get the last squirt. I suspect that with a little less silver the screen will be a little less reflective, which is fine, because I don't really want the brighter 9.2 - I was perfectly happy with my old 9.0 original Cream&Sugar screen - which at one coat, with no primer, was probably not even 9.0!

I figure with all of these factors compensating for each other, I'll be pretty happy with the result.

I've painted the first coat of C&S Ultra, which went on easily, more like the second coat of Kilz than the first, so I expect I'll have quite a bit left over for patching.

I mixed it in a plastic 5 quart can - no metal to rust and ruin it the way my old C&S supply died. I simply used my pocket knife to make a small hole in the plastic lid and assembled the stirrer onto my electric drill through that hole. I was thus able to stir it with the drill inside a closed container, avoiding splatter from the mixing.

The Kilz said to wait an hour before re-coating - I waited about an hour and a half.

The Valspar says to wait "two to four hours before re-coating." It looks very nice already, though I covered my projector with a towel to protect it from particulates during this project.

Does the addition of the acrylic paint mean I should wait even longer before applying the second coat?

Any ideas for getting water and acrylic based paint off a grey rug? I stepped in spatters on the dropcloth and then tracked them across my low-pile office-type carpet.
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post #165 of 167 Old 06-15-15, 06:41 AM
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Thumbs up Re: Cream&Sugarô Ultra

Painted the second coat of C&S Ultra at 10pm Saturday, touched it up a bit at about midnight, and went to bed.

Sunday morning I tested it out, using Dr. Marr's planet in Interstellar, which is nearly monochrome, with high key white skies, to look for streaking. Bothered by a bit I saw near the top center - the kind of thing no one but me would see, but would eventually drive me batty, so I decided to do a third coat.

Went out and bought another 3/8" nap roller, paint tray, and dropcloth, and asked about getting latex paint out of a rug. The guy in the paint department at the hardware store recommended a bottle of water-based stuff with a trigger sprayer that can be set to spray or stream that says "for hard surfaces" (no mention of carpets or cloth), and said to saturate a spatter and scrub it vigorously.

Was nearly dinner-time Sunday before I got back down to the theater. Played my test section of Interstellar and couldn't see the streaks this time. I guess C&S Ultra takes a real long time to dry to the point where streaks go away! Scrubbed doing a third coat and scrubbed the rug instead.

The spray works - sort of - but it's very labor intensive and will probably take days - and many bottles of the stuff.

Elected to watch a movie instead. Looked very good.

C&S Ultra - at least my rendition of it, not bothering with extracting the last little bit of Liquitex from each tube - isn't as grey as the original, in comparison to the surrounding flat white latex paint. But there's no visible trace of the two places where the screen wall had been gashed and patched. I sit ten feet away from my nine and a half foot wide screen - half as far away as the normal recommendation - because I like to feel like I'm on the scene. It's my personal mini-iMax, with high-definition audio as well as video, with large fronts and sides - only the rears are "small," according to my new Yamaha RX-A1030's YPAO test.

Since I trust Harpmaker and Mechman to produce neutral paint formulas, I haven't even bothered recalibrating my projector yet, since there's no obvious difference in the projected image.

Thanks for all the advice!
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post #166 of 167 Old 06-15-15, 08:46 AM
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post #167 of 167 Old 06-21-15, 02:53 PM
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Thumbs up Image looks great!

After waiting a week simply enjoying my theater, I decided the paint was stable enough to recalibrate my projector.

I use an old Panasonic PT-AE2000U, a 1080 24p/ 60i LCD rig that uses a pair of crystal sheets that produce duplicate, slightly shifted, images - one to produce a vertically-shifted image and one to produce a horizontally-shifted image. The net effect is to mostly fill in the black grid between the pixels, which remains visible only when standing at the screen, as a tiny dimming in between the pixels. There's no overlap, and thus no loss of sharpness, just the elimination of the "screen door effect." The barely visible grid can be used for focusing with the remote while standing at the screen, but once you're a few feet away you can't see it.

I put a new bulb in the projector a month or two ago.

I use the Digital Video Essentials Blu-ray to calibrate my projector. Contrary to that disk's narrator's assumption, the picture mode that complies with HD video standard ITU R BT. 709 and a 6,500 Kelvin color temperature at its default settings is not one of the modes called "Cinema." According the the projector's manual it's the picture mode called "Color 1."

I found that the only adjustment I had to make to it was to increase the brightness a tiny amount to make the 2% grey bar just visible in the Pluge test pattern. Neither contrast adjustment nor any color compensation, either of color or tint, was necessary. (I guess my errors in the recipe did indeed counterbalance each other with respect to tint!)

I then put on one of my favorites, Cloud Atlas, which is six films in one, each era's interlocking part of the story being shot in a visual style associated with films about that time period. They all looked just right.

The image looks great Thanks again!

Last edited by Philnick; 06-23-15 at 09:30 AM.
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