"Screened" redirects here. For the website, see Whiskey Media.
"Screen mirroring" redirects here. For the standard for wirelessly connecting devices to displays, see Miracast. For the protocols, see Google Cast and AirPlay.
A projection screen is an installation consisting of a surface and a support structure used for displaying a projected image for the view of an audience. Projection screens may be permanently installed on a wall, as in a movie theater, mounted to or placed in a ceiling using a rollable projection surface that retracts into a casing (these can be motorized or manually operated), painted on a wall,[1] or portable with tripod or floor rising models as in a conference room or other non-dedicated viewing space. Another popular type of portable screens are inflatable screens for outdoor movie screening (open-air cinema).[2]
Uniformly white or grey screens are used almost exclusively as to avoid any discoloration to the image, while the most desired brightness of the screen depends on a number of variables, such as the ambient light level and the luminous power of the image source. Flat or curved screens may be used depending on the optics used to project the image and the desired geometrical accuracy of the image production, flat screens being the more common of the two. Screens can be further designed for front or back projection, the more common being front projection systems, which have the image source situated on the same side of the screen as the audience.
Different markets exist for screens targeted for use with digital projectors, movie projectors, overhead projectors and slide projectors, although the basic idea for each of them is very much the same: front projection screens work on diffusely reflecting the light projected on to them, whereas back-projection screens work by diffusely transmitting the light through them.
Screens by installation type in different settings
In the commercial movie theaters, the screen is a reflective surface that may be either aluminized (for high contrast in moderate ambient light) or a white surface with small glass beads (for high brilliance under dark conditions). The screen also has hundreds of small, evenly spaced holes to allow air to and from the speakers and subwoofer, which often are directly behind it.
Rigid wall-mounted screens maintain their geometry perfectly which makes them suitable for applications that demand exact reproduction of image geometry. Such screens are often used in home theaters, along with the pull-down screens.
Pull-down screens (also known as manual wall screens) are often used in spaces where a permanently installed screen would require too much space. These commonly use painted fabric that is rolled in the screen case when not used, making them less obtrusive when the screen is not in use.
Fixed-frame screens provide the greatest level of uniform tension on the screens surface, resulting in the optimal image quality. They are often used in home theater and professional environments where the screen does not need to be recessed into the case.
Electric screens can be wall-mounted, ceiling-mounted or ceiling recessed. These are often larger screens, though electric screens are available for home theater use as well. Electric screens are similar to pull-down screens, but instead of the screen being pulled down manually, an electric motor raises and lowers the screen. Electric screens are usually raised or lowered using either a remote control or wall-mounted switch, although some projectors are equipped with an interface that connects to the screen and automatically lowers the screen when the projector is switched on and raises it when the projector is switched off.
Switchable projection screens can be switched between opaque and clear. In the opaque state, projected image on the screen can be viewed from both sides. It is very good for advertising on store windows.
Mobile screens usually use either a pull-down screen on a free stand, or pull up from a weighted base. These can be used when it is impossible or impractical to mount the screen to a wall or a ceiling.
Both mobile and permanently installed pull-down screens may be of tensioned or not tensioned variety. Tensioned models attempt to keep the fabric flat and immobile, whereas the not tensioned models have the fabric of the screen hanging freely from their support structures. In the latter screens, the fabric can rarely stay immobile if there are currents of air in the room, giving imperfections to the projected image.
Specialty screens may not fall into any of these categories. These include non-solid screens, inflatable screens and others, and can be inexpensively made at home. See the respective articles for more information.
Screen gain
One of the most often quoted properties in a home theater screen is the gain. This is a measure of reflectivity of light compared to a screen coated with magnesium carbonate, titanium dioxide,[3] or barium sulfate when the measurement is taken for light targeted and reflected perpendicular to the screen. Titanium dioxide is a bright white colour, but greater gains can be accomplished with materials that reflect more of the light parallel to projection axis and less off-axis.
Frequently quoted gain levels of various materials range from 0.8 of light grey matte screens to 2.5 of the more highly reflective glass bead screens. Very high gain levels could be attained simply by using a mirror surface, although the audience would then just see a reflection of the projector, defeating the purpose of using a screen. Many screens with higher gain are simply semi-glossy, and so exhibit more mirror-like properties, namely a bright "hot spot" in the screen—an enlarged (and greatly blurred) reflection of the projector's lens. Opinions differ as to when this "hot spotting" begins to be distracting, but most viewers do not notice differences as large as 30% in the image luminosity, unless presented with a test image and asked to look for variations in brightness. This is possible because humans have greater sensitivity to contrast in smaller details, but less so in luminosity variations as great as half of the screen. Other screens with higher gain are semi-retroreflective. Unlike mirrors, retroreflective surfaces reflect light back toward the source. Hot spotting is less of a problem with retroreflective high-gain screens. At the perpendicular direction used for gain measurement, mirror reflection and retroreflection are indistinguishable, and this has sown confusion about the behavior of high gain screens.
A second common confusion about screen gain arises for grey-colored screens. If a screen material looks grey on casual examination then its total reflectance is much less than 1. However, the grey screen can have measured gain of 1 or even much greater than 1. The geometric behavior of a grey screen is different from that of a white screen of identical gain. Therefore, since geometry is important in screen applications, screen materials should be at least specified by their gain and their total reflectance. Instead of total reflectance, "geometric gain" (equal to the gain divided by the total reflectance) can be the second specification.
Curved screens can be made highly reflective without introducing any visible hot spots, if the curvature of the screen, placement of the projector and the seating arrangement are designed correctly. The object of this design is to have the screen reflect the projected light back to the audience, effectively making the entire screen a giant "hot spot". If the angle of reflection is about the same across the screen, no distracting artifacts will be formed.
Semi-specular high gain screen materials are suited to ceiling-mounted projector setups since the greatest intensity of light will be reflected downward toward the audience at an angle equal and opposite to the angle of incidence. However, for a viewer seated to one side of the audience the opposite side of the screen is much darkened for the same reason. Some structured screen materials are semi-specularly reflective in the vertical plane while more perfectly diffusely reflective in the horizontal plane to avoid this. Glass-bead screens exhibit a phenomenon of retroreflection; the light is reflected more intensely back to its source than in any other direction. They work best for setups where the image source is placed in the same direction from the screen as the audience. With retroreflective screens, the screen center might be brighter than the screen periphery, a kind of hot spotting. This differs from semi-specular screens where the hot spot's location varies depending on the viewer's position in the audience. Retroreflective screens are seen as desirable due to the high image intensity they can produce with a given luminous flux from a projector.
Screen geometry
Projector screens are almost always rectangular in shape. They typically follow a standard display aspect ratio. For most home cinema setups there are two aspect ratios. 16:9 and Cinemascope.[4]
For classroom, businesses and houses of worship settings, 16:10 is the more commonly used projector screen aspect ratio because this matches the aspect ratio used by many modern computers.[5]
Square-shaped screens used for overhead projectors sometimes double as projection screens for digital projectors in meeting rooms, where space is scarce and multiple screens can seem redundant. These screens have an aspect ratio of 1:1 by definition.
Most image sources are designed to project a perfectly rectangular image on a flat screen. If the audience stays relatively close to the projector, a curved screen may be used instead without visible distortion in the image geometry. Viewers closer or farther away will see a pincushion or barrel distortion, and the curved nature of the screen will become apparent when viewed off-axis.
Image brightness and contrast
Apparent contrast in a projected image — the range of brightness — is dependent on the ambient light conditions, luminous power of the projector and the size of the image being projected. A larger screen size means less luminous (luminous power per unit solid angle per unit area) and thus less contrast in the presence of ambient light. Some light will always be created in the room when an image is projected, increasing the ambient light level and thus contributing to the degradation of picture quality. This effect can be lessened by decorating the room with dark colours. The real-room situation is different from the contrast ratios advertised by projector manufacturers, who record the light levels with projector on full black / full white, giving as high contrast ratios as possible.
Manufacturers of home theater screens have attempted to resolve the issue of ambient light by introducing screen surfaces that direct more of the light back to the light source. The rationale behind this approach relies on having the image source placed near the audience, so that the audience will actually see the increased reflected light level on the screen.
Highly reflective flat screens tend to suffer from hot spots, when part of the screen seems much more bright than the rest. This is a result of the high directionality (mirror-likeness) of such screens. Screens with high gain also have a narrower usable viewing angle, as the amount of reflected light rapidly decreases as the viewer moves away from front of such screen. Because of the said effect, these screens are also less vulnerable to ambient light coming from the sides of the screen, as well.
Grey screens
A relatively recent attempt in improving the perceived image quality is the introduction of grey screens, which are more capable of darker tones than their white counterparts. A matte grey screen would have no advantage over a matte white screen in terms of contrast; contemporary grey screens are rather designed to have a gain factor similar to those of matte white screens, but a darker appearance. A darker (grey) screen reflects less light, of course—both light from the projector and ambient light. This decreases the luminance (brightness) of both the projected image and ambient light, so while the light areas of the projected image are dimmer, the dark areas are darker; white is less bright, but intended black is closer to actual black. Many screen manufacturers thus appropriately call their grey screens "high-contrast" models.
Although a projection screen cannot improve a projector's contrast level, the perceived contrast can be boosted.
In an optimal viewing room, the projection screen is reflective, whereas the surroundings are not. The ambient light level is related to the overall reflectivity of the screen, as well as that of the surroundings. In cases where the area of the screen is large compared to that of the surroundings, the screen's contribution to the ambient light may dominate and the effect of the non-screen surfaces of the room may even be negligible. Some examples of this are planetariums and virtual-reality cubes featuring front-projection technology. Some planetariums with dome-shaped projection screens have thus opted to paint the dome interior in gray, in order to reduce the degrading effect of inter-reflections when images of the sun are displayed simultaneously with images of dimmer objects.
Grey screens are designed to rely on powerful image sources that are able to produce adequate levels of luminosity so that the white areas of the image still appear as white, taking advantage of the non-linear perception of brightness in the human eye. People may perceive a wide range of luminosities as "white", as long as the visual clues present in the environment suggest such an interpretation. A grey screen may thus succeed almost as well in delivering a bright-looking image, or fail to do so in other circumstances.
Compared to a white screen, a grey screen reflects less light to the room and less light from the room, making it increasingly effective in dealing with the light originating from the projector. Ambient light originating from other sources may reach the eye immediately after having reflected from the screen surface, giving no advantage over a white high-gain screen in terms of contrast ratio. The potential improvement from a grey screen may thus be best realized in a darkened room, where the only light is that of the projector.
Partly fueled by popularity, grey screen technology has improved greatly in recent years. Grey screens are now available in various gain and grey-scale levels.
Selectively reflective screens
Certain screens are claimed to selectively reflect the narrow wavelengths of projector light while absorbing other wavelengths in the optical spectrum. Sony makes a screen [6] that appears grey in normal room light, and is intended to reduce the effect of ambient light.[7] This is purported to work by preferentially absorbing ambient light of colors not used by the projector, while preferentially reflecting the colors of red, green and blue light the projector uses.[8] A true color-selective screen has not been substantiated. A contrast-enhancing screen has been introduced by Dai Nippon Printing (DNP) and Screen Innovations that is based on thin layers of black louvers rather than wavelength-selective reflection properties.[9]
Screens as an optical element
In an optimally configured system, projection screen surface and the real image plane are made to coincide. From an optical point of view, a screen is not needed for the image to form; screens are rather used to make an image visible.
A retroreflector is a device or surface that reflects radiation back to its source with minimum scattering. This works at a wide range of angle of incidence, unlike a planar mirror, which does this only if the mirror is exactly perpendicular to the wave front, having a zero angle of incidence. Being directed, the retroflector's reflection is brighter than that of a diffuse reflector. Corner reflectors and cat's eye reflectors are the most used kinds.
A planetarium is a theatre built primarily for presenting educational and entertaining shows about astronomy and the night sky, or for training in celestial navigation.
A home cinema, also called a home theater or theater room, is a home entertainment audio-visual system that seeks to reproduce a movie theater experience and mood using consumer electronics-grade video and audio equipment and is set up in a room or backyard of a private home. Some studies show that films are rated better and generate more intense emotions when watched in a movie theater, but convenience is a major appeal for home cinemas. In the 1980s, home cinemas typically consisted of a movie pre-recorded on a LaserDisc or VHS tape; a LaserDisc Player or VCR; and a heavy, bulky large-screen cathode-ray tube TV set, although sometimes CRT projectors were used instead. In the 2000s, technological innovations in sound systems, video player equipment, TV screens and video projectors have changed the equipment used in home cinema set-ups and enabled home users to experience a higher-resolution screen image, improved sound quality and components that offer users more options. The development of Internet-based subscription services means that 2020s-era home theatre users do not have to commute to a video rental store as was common in the 1980s and 1990s.
An overhead projector, like a film or slide projector, uses light to project an enlarged image on a screen, allowing the view of a small document or picture to be shared with a large audience.
An LCD projector is a type of video projector for displaying video, images or computer data on a screen or other flat surface. It is a modern equivalent of the slide projector or overhead projector. To display images, LCD projectors typically send light from a metal-halide lamp through a prism or series of dichroic filters that separates light to three polysilicon panels – one each for the red, green and blue components of the video signal. As polarized light passes through the panels, individual pixels can be opened to allow light to pass or closed to block the light. The combination of open and closed pixels can produce a wide range of colors and shades in the projected image.
A video projector is an image projector that receives a video signal and projects the corresponding image onto a projection screen using a lens system. Video projectors use a very bright ultra-high-performance lamp, Xenon arc lamp, metal halide lamp, LED or solid state blue, RB, RGB or fiber-optic lasers to provide the illumination required to project the image. Most modern projectors can correct any curves, blurriness and other inconsistencies through manual settings.
Digital light processing (DLP) is a set of chipsets based on optical micro-electro-mechanical technology that uses a digital micromirror device. It was originally developed in 1987 by Larry Hornbeck of Texas Instruments. While the DLP imaging device was invented by Texas Instruments, the first DLP-based projector was introduced by Digital Projection Ltd in 1997. Digital Projection and Texas Instruments were both awarded Emmy Awards in 1998 for the DLP projector technology. DLP is used in a variety of display applications from traditional static displays to interactive displays and also non-traditional embedded applications including medical, security, and industrial uses.
A movie projector is an opto-mechanical device for displaying motion picture film by projecting it onto a screen. Most of the optical and mechanical elements, except for the illumination and sound devices, are present in movie cameras. Modern movie projectors are specially built video projectors.
The contrast ratio (CR) is a property of a display system, defined as the ratio of the luminance of the brightest shade (white) to that of the darkest shade (black) that the system is capable of producing. A high contrast ratio is a desired aspect of any display. It has similarities with dynamic range.
A 3D display is a display device capable of conveying depth to the viewer. Many 3D displays are stereoscopic displays, which produce a basic 3D effect by means of stereopsis, but can cause eye strain and visual fatigue. Newer 3D displays such as holographic and light field displays produce a more realistic 3D effect by combining stereopsis and accurate focal length for the displayed content. Newer 3D displays in this manner cause less visual fatigue than classical stereoscopic displays.
A silver screen, also known as a silver lenticular screen, is a type of projection screen that was popular in the early years of the motion picture industry and passed into popular usage as a metonym for the cinema industry. The term silver screen comes from the actual silver content embedded in the material that made up the screen's highly reflective surface.
An Eidophor was a video projector developed in the 1940s, used to create theater-sized images from an analog video signal. The name Eidophor is derived from the Greek word-roots eido and phor meaning 'image' and 'bearer' (carrier). Its basic technology was the use of electrostatic charges to deform an oil surface.
A foot-lambert or footlambert is a unit of luminance in United States customary units and some other unit systems. A foot-lambert equals 1/π or 0.3183 candela per square foot, or 3.426 candela per square meter. The foot-lambert is named after Johann Heinrich Lambert (1728–1777), a Swiss-German mathematician, physicist and astronomer. It is rarely used by electrical and lighting engineers, who prefer the candela per square foot or candela per square meter units.
A CRT projector is a video projector that uses a small, high-brightness cathode-ray tube (CRT) as the image generating element. The image is then focused and enlarged onto a screen using a lens kept in front of the CRT face. The first color CRT projectors came out in the early 1950s. Most modern CRT projectors are color and have three separate CRTs, and their own lenses to achieve color images. The red, green and blue portions of the incoming video signal are processed and sent to the respective CRTs whose images are focused by their lenses to achieve the overall picture on the screen. Various designs have made it to production, including the "direct" CRT-lens design, and the Schmidt CRT, which employed a phosphor screen that illuminates a perforated spherical mirror, all within an evacuated CRT.
A front projection effect is an in-camera visual effects process in film production for combining foreground performance with pre-filmed background footage. In contrast to rear projection, which projects footage onto a screen from behind the performers, front projection projects the pre-filmed material over the performers and onto a highly reflective background surface.
Laser color television, or laser color video display, is a type of television that utilizes two or more individually modulated optical (laser) rays of different colors to produce a combined spot that is scanned and projected across the image plane by a polygon-mirror system or less effectively by optoelectronic means to produce a color-television display. The systems work either by scanning the entire picture a dot at a time and modulating the laser directly at high frequency, much like the electron beams in a cathode ray tube, or by optically spreading and then modulating the laser and scanning a line at a time, the line itself being modulated in much the same way as with digital light processing (DLP).
Large-screen television technology developed rapidly in the late 1990s and 2000s. Prior to the development of thin-screen technologies, rear-projection television was standard for larger displays, and jumbotron, a non-projection video display technology, was used at stadiums and concerts. Various thin-screen technologies are being developed, but only liquid crystal display (LCD), plasma display (PDP) and Digital Light Processing (DLP) have been publicly released. Recent technologies like organic light-emitting diode (OLED) as well as not-yet-released technologies like surface-conduction electron-emitter display (SED) or field-emission display (FED) are in development to supersede earlier flat-screen technologies in picture quality.
Contrast, in physics and digital imaging, is a quantifiable property used to describe the difference in appearance between elements within a visual field. It is closely linked with the perceived brightness of objects and is typically defined by specific formulas that involve the luminances of the stimuli. For example, contrast can be quantified as ΔL/L near the luminance threshold, known as Weber contrast, or as LH/LL at much higher luminances. Further, contrast can result from differences in chromaticity, which are specified by colorimetric characteristics such as the color difference ΔE in the CIE 1976 UCS.
3LCD is the name and brand of a major LCD projection color image generation technology used in modern digital projectors. 3LCD technology was developed and refined by Japanese imaging company Epson in the 1980s and was first licensed for use in projectors in 1988. In January 1989, Epson launched its first 3LCD projector, the VPJ-700.
Black Widow is a non-commercial open source project to design a paint mix for the base of a DIY projection screen. Anonymous DIYers responsible for popularizing Black Widow in the DIY community include Mechman Alternators (US), Wbassett (US) and Custard10 (EU). The paint mix is made from easily accessible materials and could outperform much more expensive commercial projection screens.
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