![]() The outer layer is a two-way diffusion coating, allowing projector light to pass through and be returned back into the viewing area, but only when the lens is perpendicular to the screen. The Phantom’s heavy lifting results from two distinct layers applied to the vinyl body, combining for a peak gain of 1.0, with half gain breached passing 30 degrees each direction away from center. And whether the screen is flat-hanging, cine-curved, or electrified to be a stowaway, Stewart’s two perforated-screen options-Microperf X² THX Ultra and Cinemaperf-hide speakers from view, providing a flexibility that the quasi-rigid ALR competition can’t claim. Vinyl empowers Stewart with such advantages as enabling the Phantom to remain seamless to a massive 90 x 40 feet. Stewart retained flexible vinyl, also used in their iconic StudioTek screens, for the Phantom’s substrate backbone. ![]() Ingenious manufacturing techniques deposit layers of nearly atom-sized mystery particles onto these surfaces that direct, reflect, and reject unwelcome light from sources other than a projector. Most of today’s ALR efforts feature variations on a solid, semirigid, Mylar-like theme. The FireHawk G1 followed a year later with a unique approach inhibiting entry of nonprojected light into the viewing area. GrayHawk RS debuted in 2001, designed to provide necessary assistance in picture areas displaying dark content for then nascent digital projectors deficient in black level. Was this a case of last-minute bidding by a 70-year industry stalwart, casting their “We can, too” product into an already crowded ALR arena? A peek at screen history reveals quite the opposite-and Stewart, it turns out, is well rehearsed in the role of battling the wandering light.Ī decade before the emergence of current ALR screen designs-a few boasting exotic build materials suspected to be taken from Area 51-Stewart’s optical alchemists purposely brewed reflective formulations to aid projectors needing a little help against unfettered light. We also reviewed two artful approaches to ALR screens, Elite Prime Vision’s DarkStar 9 and Seymour-Screen Excellence’s Ambient-Visionaire Black 1.2 (April 2016 and our website), both of which earned Top Pick status.Īt CEDIA 2016, Stewart Filmscreen unleashed their assault on unrestrained photons, introducing the Phantom HALR (High Ambient Light Rejecting) screen, a greatly anticipated antidote to contrast-hampered viewing conditions. ![]() Now, flat panels again are staking out ever-increasing amounts of naked wall space-as evidenced recently by Sony’s 100-inch XBR-100Z9D, which shamelessly persuades the well-enough heeled that it’s a better use of electricity than the Tesla Model 3 they’d been fancying. Back then, mainstream TV size effectively peaked at about 80 inches. We celebrated our certainty at pinpointing every red, green, and blue-blooded home theater enthusiast’s eureka! moment. Compelling, immersive, life-size projected images for the same currency swap as a diminutive, backlit, uh…TV? Two years ago, Sound & Vision contemplated how pairing sub-$2K projectors with innovative ALR (ambient light rejecting) screens might compete as similarly priced replacements for large flat panels in multipurpose environments. ![]()
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