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Discussion Starter #1 (Edited)
Nak what would your prediction be for gain on sw and also glidden 450 diamond

Nak you've seen both side by side and you've done some comparisons between the two what would you think the gain is on each one just from a visual point of view.

I might need to bring up my gain once I do 135". Going from 1.0 to 1.2 or 1.3 is huge at that size. What was your thoughts between sw pro classic and the glidden 450 diamond?

Thanks
 

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Here's some pics. The screen is my sprayed Diamond 450 screen. The long sample in the middle is rolled Diamond 450. The sample on the left is The Sherwin Williams Pro Classic. The sample on the right is a piece of Carada Brilliant White 1.4 gain screen material. (I don't think it's really 1.4 gain.) The last pic is intentionally overexposed to show the black level comparison better. Physics is not to be denied. Brighter whites means brighter blacks.
 

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Discussion Starter #6
Here's some pics. The screen is my sprayed Diamond 450 screen. The long sample in the middle is rolled Diamond 450. The sample on the left is The Sherwin Williams Pro Classic. The sample on the right is a piece of Carada Brilliant White 1.4 gain screen material. (I don't think it's really 1.4 gain.) The last pic is intentionally overexposed to show the black level comparison better. Physics is not to be denied. Brighter whites means brighter blacks.
Nak I would have never believed it, if it weren't for these pictures. My whites look really really white in any sceen where there snow or anything else that is white. In those pictures the white of sw actually looks dirty or a little grey in comparison with the glidden. Even my painted screen on the wall looks really really white compared to what I was use to with my grey screen.

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No worries Tank! :) It's all a matter of gray and white. Gray is in fact white, just not as bright. As long as you hit a certain level of fL coming off the screen, how bright your whites are are determined by how much contrast you have, and how well controlled your reflected and ambient light is. For most people, 12 to 16 fL seems to be the key, although I find I like 16 to 20 fL. The SW is not necessarily bad; if you get enough brightness out of your screen with the SW it's great. But if you need to eek every last fL out of your PJ, the Glidden is better. IMHO anyways. If you can go with a full light treatment in your theater, I think White is a great choice. For those that can't, or have an excess of PJ output, then gray is better.
 

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Discussion Starter #8
No worries Tank! :) It's all a matter of gray and white. Gray is in fact white, just not as bright. As long as you hit a certain level of fL coming off the screen, how bright your whites are are determined by how much contrast you have, and how well controlled your reflected and ambient light is. For most people, 12 to 16 fL seems to be the key, although I find I like 16 to 20 fL. The SW is not necessarily bad; if you get enough brightness out of your screen with the SW it's great. But if you need to eek every last fL out of your PJ, the Glidden is better. IMHO anyways. If you can go with a full light treatment in your theater, I think White is a great choice. For those that can't, or have an excess of PJ output, then gray is better.
Nak I'm sure that I like a brighter picture, it must be 16 fl to 20 for my personal taeste. That's why I'm impatiently waiting to receive my light meter so that my thoughts can become facts. I'm very happy with the shirwin Williams pro classic now that my projector is somewhat calibrated. I definitly will be sticking with the white screen, hopefully it doesn't start to dim on me with bulb age to the point where I'm not happy. The brighter modes are surprisingly well color balanced with a very respectable image, so that should keep my bulb going for a while.

Thanks
 

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Nak I would have never believed it, if it weren't for these pictures. My whites look really really white in any sceen where there snow or anything else that is white. In those pictures the white of sw actually looks dirty or a little grey in comparison with the glidden. Even my painted screen on the wall looks really really white compared to what I was use to with my grey screen.

Thanks
I'll jump in here just to mention that the SW 'Extra White' is not SW's brightest white paint (they have 'Luminous White' and 'High Reflectance White' bases too), but I think it is the brightest white available in ProClassic. The Glidden Diamond 450 and Glidden Premium GLN9000 paints are brighter and more color neutral as well. ProClassic's main claim to fame is the smooth surface it dries too and the ease with which it rolls. Nak's photos do a great job of showing the difference between these paints. BTW, the Glidden Premium GLN9000 seems to be VERY close to the same paint as the more expensive and harder to find Glidden Diamond 450.
 

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My projector is the Epson 8700ub and was looking at Silver Screen or Glidden Diamond 450 for my screen. My throw is 16' to 110" screen. My room has dark grey ceiling and dark red walls so which one thanks.
 

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No worries Tank! :) It's all a matter of gray and white. Gray is in fact white, just not as bright. As long as you hit a certain level of fL coming off the screen, how bright your whites are are determined by how much contrast you have, and how well controlled your reflected and ambient light is. For most people, 12 to 16 fL seems to be the key, although I find I like 16 to 20 fL. The SW is not necessarily bad; if you get enough brightness out of your screen with the SW it's great. But if you need to eek every last fL out of your PJ, the Glidden is better. IMHO anyways. If you can go with a full light treatment in your theater, I think White is a great choice. For those that can't, or have an excess of PJ output, then gray is better.
You are quite right my friend!!!:T

There is no such thing as high contrast screens or magic formulas that improve contrast ratios. The facts of life say that the contrast is being produced and made by the projector unit...period.

The whole thing with marketing so called high contrast gray claims, has to do with ambient light, white walls, white ceilings e.t.c. This has to do with the percieved contrast and not with native contrast of the projector. The truth is that the darker shade works better with secondary reflections because it absorbs more light than the lighter one making the image appear less washed out.

Since we have a constant on light output (12 -16 FL) off the screen, the image that will take from a white and a gray screen, in the same bat cave, will be exactly the same. The only thing that differs are the lumens that hitting the screen which in case of a gray screen will be more to compensate the loss due to darker white.
 

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Discussion Starter #12
My projector is the Epson 8700ub and was looking at Silver Screen or Glidden Diamond 450 for my screen. My throw is 16' to 110" screen. My room has dark grey ceiling and dark red walls so which one thanks.
I'll give my vote for white, because you're room is treated for ambiant light. I'll only say white if this is for a basement theator with very little light comming in.

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Discussion Starter #13
My projector is the Epson 8700ub and was looking at Silver Screen or Glidden Diamond 450 for my screen. My throw is 16' to 110" screen. My room has dark grey ceiling and dark red walls so which one thanks.
Hey robsong is it possible it move up your projector closer to your screen, you you notice a pretty big increase in brightness?
I tried it at that distance and I found it pretty dark, and that was with a new bulb. When I moved it to 10.5 feet the difference in brightness was very obvious. 110" is a pretty big screen, and I have a lot of brightness with mine but only at that distance from the screen.

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Discussion Starter #15
I'm stuck at 16' to screen for now thanks.
I think that if your stuck at 16' it's even more important to use white because you'll have about 30% more brightness vs a grey .7 gain screen.

Calibrate well your contrast and you will really enjoy the picture.
 

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Discussion Starter #17 (Edited)
Nak I'm sure that I like a brighter picture, it must be 16 fl to 20 for my personal taeste. That's why I'm impatiently waiting to receive my light meter so that my thoughts can become facts. I'm very happy with the shirwin Williams pro classic now that my projector is somewhat calibrated. I definitly will be sticking with the white screen, hopefully it doesn't start to dim on me with bulb age to the point where I'm not happy. The brighter modes are surprisingly well color balanced with a very respectable image, so that should keep my bulb going for a while.

Thanks
Hi Nak i just received my light meter, and i wanted to know what image should i be trying to measure. I read up a little and i figured out how to take the measurement the problem i'm having is to stabalize the lux what image should i be sending through the projector for the meter testing

I don't have a 100 ire test pattern what else can i use?

Thanks
 

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Hi Nak i just received my light meter, and i wanted to know what image should i be trying to measure. I read up a little and i figured out how to take the measurement the problem i'm having is to stabalize the lux what image should i be sending through the projector for the meter testing

I don't have a 100 ire test pattern what else can i use?

Thanks
I'm not Nak, and I hope he doesn't mind me jumping in here, but I think you could make your own white image on your PC by making an image that is a solid white (RGB values are all 255) in the resolution of your PJ and then burn that to a DVD. However, I really suggest you get a proper calibration DVD which will have a 100 IRE image on it, and of course others, to help properly set your PJ's brightness, contrast and color settings.

When taking measurements with your light meter, place the sensor as close to the screen surface as you can with the sensor pointing toward the PJ. You want to measure the PJ light striking the screen, not the screen's reflectance. I found that you need to tilt the sensor slightly up, down, left and right a little until you get the brightest readings.
 
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