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The Hisense LTS100MHEU is a 100 inch ALR screen that’s ideal for use with ultra-short-throw projectors. Installation type (fixed frame, drop down, floor-rising): Consider how you plan to install your projector screen. A fixed frame screen hangs on the wall and is a permanent fixture much like a TV screen. Drop-down screens hang down from the ceiling and may be stored away out of sight. A drop-down screen for UST projectors should still be made of CLR material, tensioned, and come as electric screens. Finally, you can find floor-rising screens which pop up from the floor. Like drop-down screens, a floor-rising projector screen is great for a clean set up. This makes it possible to create your “cinema-at-home” project and do it in daylight without compromising picture quality or having to blot out all the light. Without a UST screen the majority of the light from the projector directly under the screen will be reflected up to the ceiling, not to your eye level. This is just physics; the angle the light hits the screen or wall at is the angle it gets reflected at. Obviously this seriously diminishes the brightness of the light (the image) you see at your seating position. The eleven screens in this review vary to some degree in their latent color biases. Some are close to neutral while others tend to skew toward a cooler picture, producing crisper "whiter" whites. However, the color temperature and direction of the ambient light tends to have more of an effect on the ultimate result than any particular screen's bias. North-facing windows will introduce more blue ambient light than will incandescent lamps. The interior color of walls, carpets, furniture can also bias the color of the ambient light. So no matter what the inherent color bias of the screen itself may be, if one wants as close to neutral color balance in the image as possible, the environmental factors would need to be calibrated out on the projector by a professional installer (assuming the environmental factors are constant).
The DarkStar has a moderate viewing angle of 60 degrees which gives you a bit more latitude in seating than, say, the Seymour. But it does not have the extreme latitude of the DarkStar 9, and once you move away from center axis the picture begins to fade and lose uniformity. So the ideal deployment of this screen is for installations in which most viewing takes place not too far from the center position. The DarkStar tied for first place with the Screen Innovations Zero Edge Slate as the brightest screens in the review, although several competing screens were very close. Nevertheless, being one of the brightest of the screens in this group means you may not need to spend extra money for a higher lumen projector to meet your overall image brightness requirements -- assuming it is viewed from very near the zero degree viewing axis. Based on how close to the screen a UST projector sits, you’ll want a specialized screen. Technically, any surface including a wall will work for a screeb. But because of the close distance from the lens to the screen, any minor imperfections will be amplified because of the optics, so screens that aren’t tensioned won’t work. Additionally, because UST projectors throw light up from the bottom of the screen, you’ll need a special type of screen, a ceiling light rejecting (CLR) screen. We offer a screen with all our Laser TVs that ensures Hisense customers have the perfect viewing conditions and experience – whatever you’re watching!
Keith and his team are without fault
The Aeon CLR® is an EDGE FREE CLR ® fixed frame screen that uses Elite Screens innovative StarBright CLR® (Ceiling Light Rejecting®) material. Its serriform optical surface lens microstructure negates the washout effect of ambient light especially from overhead sources. This also enables the material to provide contrast levels that are 100 times greater than that of standard matte white projection screens. Akia screens don’t need an introduction because of their durability and innovation. I am reviewing a floor-motorized tab-tension projector screen with a 4D ALR (Ambient Light Projection) feature. Generally, there are three varieties of projectors when considering throw ratio. Traditional projectors, or long throw projectors, require around 8 to 10 feet of distance between the lens and the screen to shoot a 100-inch image. A short-throw projector needs only four or five feet to shoot a 100-inch picture. And an ultra-short throw projector requires a mere few inches to achieve a 100-inch or larger image. Are UST Projectors Better Than Traditional Projectors? The ALR screens in this review vary in their tendency to impart these grainy texture artifacts. They can be grouped as follows: These projectors are ideal for projecting outdoors with their high brightness. There is a trade off between lamp projectors and portable projectors.
But dvLED is not generally suitable for Microsoft Teams Rooms, teaching spaces etc. They are too bright and unsuitable for sustained viewing. Although the brightness can be reduced, this comes at a cost of reduction in dynamic range. Control the light - darkening the room with window blinds or dimmed lighting will increase the quality of the image. However, this is not always possible or desirable, for example in meeting rooms and teaching spaces where viewers should be alert and engaged. The screen is tab tensioned to guarantee a flat and stable surface for your image to be projected on. This ensures a quality viewing experience and stunning image quality.
Note on the Screen Selection
Most ALR screens introduce some degree of visible texture into the image that does not come from the projector. Typically it looks like the fine grain in a photograph taken on high ISO film, or the noise in a digital photograph taken at a high ISO setting. It has a visible effect not unlike the screendoor effect on low resolution projectors. Quite often this grainy texture is not noticeable in scenes where the camera is not panning, but it becomes visible in a scene where the camera pans across a sky, or white clouds, or the surface of a polished red Ferrari -- essentially, any element in the picture with no texture in itself that would mask the artifact. Since this texture artifact is stationary the camera panning makes it visible by making it appear as if the image is moving behind an almost invisible veil. We have a wide choice of screen options for indoor and outdoor use that divide into fast fold screens with flight cases that go from 80"" to 140", alternatively we have 80" lightweight tripod projector screens. Since the floor-rising solution is in demand, Akia has done a great job in that direction with this ALR screen. The top things about this projector screen include overheating protection, Anti-pinch Safety, tab-tensioned design, CineGrey 4D material, elegant moisture-resistant, Etc. However, here’s another thought: how about trying to recreate the cinema feel in your home in daylight? I am sure the first problem that comes to the mind of anyone who has used a projector screen is light. The S PRO series uses special ALR fabric to optimise the projected image from UST projectors. This ALR fabric can efficiently reject 97% of ambient light to negate the washout effect from other light in the room.
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