Elite Screens Osprey Tension Dual Series Screen Reviewed

While HDTVs have continued to get larger and larger, not to mention cheaper and cheaper, it must be said that in order to achieve a true cinema experience in the home, one has to go with a front projection video system. If front projection is the goal, then having a true Cinemascope or 2:35:1 aspect ratio screen has to be considered the Holy Grail. The only problem with native 2:35:1 screens is that HDTV broadcasts are traditionally 16:9 and nearly half of the films released theatrically are 1:85 or 16:9 when they arrive on DVD or Blu-ray. What this means for any front projection enthusiast, especially one who is looking to acquire a native 2:35:1 screen, is that you either have to invest in an auto-masking screen or live with black bars (or sometimes grey bars) on either side of your image. Oh, and let's not forget that you'll also have to invest in an anamorphic lens attachment/adaptor in order to properly view native 2:35:1 material - aka no black bars top and bottom.

Additional Resources
• Read reviews of projectors to go with the Osprey Tension Dual Series screen.
• Learn more about Elite Screens.
• Find out where to buy the Osprey Tension Dual Series screen from Elite Screens.

It's because of these factors that the majority of front projection enthusiasts ultimately end up buying a standard 16:9 aspect ratio screen, for the initial costs are far lower. How much lower? Well, fixed 16:9 screens can be had for as little as $300, with motorized drop down screens starting at around $400. In comparison, native 2:35 fixed screens start at around $700 without auto-masking, with motorized drop down screens opening at around $1,000. Auto-masking screens, be they motorized drop down or fixed, start at around the $5,000 mark for a cheap one and can reach prices in excess of $20,000. Of course, all of the prices I've just quoted increase the larger your screen gets and the more features you add to them. It doesn't take a man in a white lab coat and suspenders to see that sticking with a traditional 16:9 screen is the more cost effective way to go.

So does that mean die-hard enthusiasts, like myself, have to go broke in order to achieve true 2:35:1 viewing bliss? Not anymore. For there's a third option, one that affords viewers the convenience of being able to watch both 16:9 and native 2:35:1 aspect ratio material without the need for auto-masking or incurring the added costs associated with it.

Say hello to the Osprey Tension Dual Series Screen from Elite Screens - leaders in affordable front projection screen technology.

The Osprey Tension Dual Series Screen is an ingenious design, in that it gets around the auto-masking issue and its associated costs by simply housing two separate screens in one chassis. When I first learned of the Osprey's existence I had one of those "duh" moments, for Elite's solution seems so simple, yet no one has done it. They just took the two screens needed to enjoy both 16:9 and 2:35:1 aspect ratio material and put them together. It's freakin' genius, I tell you. And the cost for this fit of brilliance? Prices start at $1,999 for an Osprey screen containing a 78-inch diagonal 16:9 aspect ratio screen and a 97-inch diagonal 2:35:1 aspect ratio screen.

The Osprey Tension Dual Series Screen, as its name implies, is a dual, motorized drop down, tensioned screen system that ensures both its 16:9 and 2:35:1 aspect ratio screens remain taut and free from wrinkles when viewing. Both of the Osprey's screens feature Elite's own CineWhite 1.1 gain screen material and are black-backed for image uniformity. Both screens have a reported 160-degree viewing angle. Sizes start at 78 (16:9) and 97 (2:35:1) inches diagonally and go up to as large as 106 (16:9) and 133 (2:35:1) inches. The screens themselves are housed in a semi-gloss black aluminum case featuring an Enamel Coating that is moisture resistant. The Osprey comes with all the necessary tools and hardware needed to mount the screen to your wall or ceiling. There is an optional in-ceiling kit for those wanting a more stealthy installation. The Osprey's case houses a dual tubular motor that is not as quiet or as fast as some, but definitely gets the job done. There is an adjustable vertical limit switch to aid in setting the screen's proper drop/rise limits if need be, though the Osprey ships from the factory with proper rise settings in place and the drop set to max. Speaking of drop, the standard Osprey screens feature a 6-inch black drop, but Elite does make the Osprey with a 24-inch drop as well. Of course custom lengths can also be ordered and are built on a case-by-case basis. The entire Osprey system and all of its parts carry a two-year manufacturers warranty.

No motorized screen would be complete without a remote and Elite ships the Osprey screen with two: a standard RF remote and one IR remote to accompany the included low voltage wall switch. That's right, the Osprey screen comes standard with a wall plate and switch kit as well as a separate IR remote. Now the wall plate isn't what I'd call a standard switch plate; instead it's more of a black "puck" that sits on top of your drywall and connects to the Osprey screen via an attached cable. The wall plate features the same controls as both remotes, individual buttons for up, 2:35:1 and 16:9. Press any of those three buttons on either of the remotes or the wall plate itself and the selected screen will begin to drop or retract. If you have the 16:9 screen engaged and you hit the button labeled 2:35:1, the 16:9 screen will begin to rise as the 2:35:1 screen drops below it and vice versa. Obviously hitting "up" on the remote will retract whatever screen is engaged without lowering the other.

The Hookup
Since the ceilings in my new home are roughly nine feet high, I wasn't going to be able to get away with the standard Osprey screen with its 6-inch drop, for it would have positioned the screens themselves far to high for proper, let alone long term viewing. Elite was kind enough to ship me their smallest Osprey Tension Dual Series Screen with the 24-inch drop in order to accommodate my needs. The screen I was sent was model number DTE97C78H-E24 (E24 stands for "Extra 24-inches of drop) that housed a 78-inch diagonal 16:9 screen and a 97-inch 2:35:1 screen. Since the case has to be large enough for the largest screen, in this case the 97-inch 2:35:1 aspect ratio screen, the aluminum chassis was a bit longer than I was anticipating at 104 inches. In total the case measured 104 inches long by six and a half inches tall and nearly five inches deep. The nice thing about the Osprey case is that its height and depth remain the same regardless of screen size so you only have to contend with length and weight when planning your system. As for weight, my review sample weighed just a hair under 50 pounds.

Installing the Osprey screen is a job for two people, especially if you plan on mounting it to the ceiling, which I was. A good friend of mine was kind enough to lend a hand and helped me install the Osprey screen to my ceiling as well as run power to a ceiling mounted outlet. Minus running power to a newly installed electrical outlet on my ceiling, the Osprey went up in just under an hour with almost zero fuss. While you can always hire a custom installer to install any screen, including the Osprey, its mounting procedure and bracket design are easy enough to understand and complete, DIY style.

Once installed, I familiarized myself with the Osprey's controls, though I didn't have to perform any adjustments to its factory set rise and drop settings, for they were spot on for my room. However, if you do have to tweak the screen's drop, it's a simple enough procedure that involves placing an Allen wrench into one of four holes located on the back of the Osprey's aluminum casing.

As for the rest of my system, I utilized my reference Anthem LTX-500 D-ILA projector, which was mounted approximately 14 and a half feet from the Osprey's screens in order to accommodate the throw distance needs of my newly installed Panamorph FVX200J anamorphic lens adaptor (review pending). In order to take full advantage of the Osprey's 2:35:1 screen I had to set my Anthem projector's vertical stretch feature to "on" so that native 2:35:1 material through the Panamorph lens would display properly. For standard 16:9 viewing I would have to turn the vertical stretch feature to "off" and set my projector's aspect ratio to 4:3 because of the way the Panamorph stretches the image - but that's for another review.

Performance
I opted to test the Osprey's 2:35:1 screen first so I cued up J.J.Abram's refresh of the Star Trek (Paramount) franchise on Blu-ray disc. I went ahead and just let the disc play, for the opening sequence is rife with demo material, from vivid highlights to rich, deep blacks; there isn't a stone left unturned in the opening ten minutes or so of the film. Right off the bat the most impressive observation with watching 2:35:1 material is one of omission - that is, the omission of black bars top and bottom. You don't get a sense of just how much real estate is lost to black bars when viewing 2:35:1 on a standard 16:9 screen until you're able to watch without them. The effect is amazing and the impact of the image itself appears to increase 10 fold. The image simply feels larger, grander and provides for a greater sense of immersion via a proper 2:35:1 setup, then via a 16:9 rig. Beyond that, because the boundaries of the image itself butt up against the Osprey's black surrounding material, the increase in perceived contrast throughout is tremendous. Also, because the Osprey doesn't use auto masking, there is no separation - no matter how minute - between the CineWhite screen material and its black material surround, which isn't the case with traditional auto masking screens. Because of this, the edge of the image itself is crisper, creating the illusion, at least in a darkened room that the image is simply "hanging" in space. However, in order to achieve rich, deep blacks on screen the Osprey really should be used or at least critically viewed in a completely darkened room.

I know my previous statement should go without saying, but there are a number of ambient light or light rejecting screens out there that do a phenomenal job of allowing you to view projected material with minimal light present in the room - but this is not the case with the Osprey, for even a single, low-level, reading light can alter its black level performance and contrast. Black levels are solid but aren't as deep or as sharp as you're going to find with some costlier screens and/or screen materials. The Osprey's CineWhite screen material gets you close to 90 percent of the performance in terms of black level detail, richness and overall depth as you'll get from screens costing five to ten times as much. Take for instance the sequence inside Niro's ship, which is largely a cavernous wasteland of metal stalagmites and atmospheric haze. The Osprey's CineWhite material allowed for plenty of black level detail that revealed layer upon layer of tortured, twisted hull; however the delineation between foreground and background elements wasn't as sharp as what you'll find with costlier or high contrast screens. Does it ultimately ruin or take away from the viewing experience? Not at all.

Now, contrast (away from the screen's edges) is very good between light and dark elements on screen and even better in more brightly lit environments. Within largely dark scenes or low light sequences it's not quite as sharp as I've seen from the competition, but again we're talking about a value for dollar product in the Osprey, not a cost no object assault. What does this mean? Well, for one it means edge fidelity is a bit softer overall. Don't mistake the word "soft" for vague or blurry, for I found the Osprey's edge fidelity to actually appear more natural and more cinema-like than what I've grown accustomed to from the current crop of high contrast screens, which I appreciated.

In a truly darkened room, colors projected upon the Osprey's CineWhite surface are rich, vibrant and well saturated with good uniformity throughout. I like white screens when it comes to color reproduction, for I find ambient light or high contrast screens tend to enrich colors a bit artificially, not to mention make them appear a touch darker across the entire spectrum, which isn't the case with the Osprey. While Star Trek is an artificially saturated film in terms of color, there were enough subtle cues in some of the film's less hectic sequences that allowed me to view things like skin tones and such in their natural state and the Osprey did a great job displaying all the nuance, texture and detail contained within.

Lastly, the surface of the material itself didn't inject any unwanted texture or light anomalies into the image and the tab tensioning system kept the surface of the screen itself wrinkle free.

Wanting to test the Osprey's 16:9 screen performance, I hit the button labeled "16:9" on the remote, which sent the 2:35:1 screen packing and dropped the 16:9 screen its place. There is some brief contact that happens between the two screens as their bottom supports pass one another resulting in a muted "thunk" but other than that, the operation is smooth and drama free. The process of dropping one screen or replacing one for the other takes approximately 30 seconds, give or take (yes, I timed it).

Since Star Trek was filmed in cinemascope, I went ahead and popped in James Cameron's Avatar (20th Century Fox) on Blu-ray disc. Avatar, in its 2D form, was released in cinemascope; however for its initial Blu-ray release we're treated to a 1:78: or 16:9 image, because that's how it was displayed for its 3D theatrical release. Ugh, one more example of how 3D is "changing" the way we watch movies. But I digress.

Right off the bat it was evident the image wasn't as large or as visually overwhelming as with the 2:35:1 screen, but it's not really a fair comparison. The "floating" image phenomenon I commented about earlier with the 2:35:1 screen was present and accounted for. The image quality was identical between the two screens. I even raised and dropped them one after the other to make sure and there was no visible difference in performance. Even the distance separating the 16:9 screen and the 2:35:1 screen behind it was so slight that my projector didn't even notice, keeping all four edges of the image sharp and in stark contrast with the surrounding black material. That's really cool and a good thing.

Overall I found the Osprey to be a very capable and solid all-round performer that packs an awful lot of performance and convenience into a very easy to use solution. Is it the best screen there is? No. But for where it sits in the marketplace and the issues it solves/gets around for enthusiasts looking to add a little cinemascope magic to their system whilst staying on budget, it's phenomenal.

Competition and Comparison
There is no real direct comparison for the Osprey Tension Dual Series Screen as no one else makes a two-screen-in-one solution like Elite does at this price. However, the Osprey does compete with traditional auto masking screens, of which there are many. At the highest end of the spectrum rests the dnp Supernova Epic, which is a true cost-no-object auto masking screen designed for the most discerning of videophiles. The dnp Supernova Epic is arguably the finest screen I've seen; however it's not really aimed at the typical Osprey buyer so it's a bit of an apples-to-oranges comparison. Stewart Filmscreens also makes several fine auto-masking screens, be they fixed or drop down, and I've spent considerable time with their ElectriScope Screen and have found it to be a very capable performer. However, like the before mentioned dnp screen, the ElectriScope is not really aimed at the typical Elite customer. One screen that could be considered a direct competitor is not an auto-masking screen at all, but instead a high contrast "black" screen from Screen Innovations. Screen Innovations' Black Diamond II screen material is ambient light-rejecting and can be ordered in either a 16:9 or 2:35:1 aspect ratio. Why the Black Diamond II makes this list is because the material itself is so good at rejecting ambient light and displaying crisp, true blacks that one doesn't really notice projected bars, thus creating the illusion of an auto masking or native aspect ratio screen. Also, SI's Black Diamond II Screens start at around the Osprey's asking price, but you can only get them in a fixed screen configuration - thus the savings.

If you need help deciding which screen is right for you and your system, please check out Home Theater Review's Front Projection Screen page for guidance, information and reviews.

The Downside
There are a few items that keep the Osprey Tension Dual Series Screen from being perfect, though they must be taken in the proper perspective given the Osprey's asking price and supreme functionality. For starters, the internal motor is a bit noisy if I'm honest and not as fast as some. While the visual impact of a drop down screen is undeniable, the motor noise from the Osprey does rob it a bit of its sex appeal. However, once your favorite film starts playing in its native format, all is forgiven.

I wish Elite would also offer white as a finish option for the Osprey's aluminum case, for its all black metallic finish is a bit "bulky" visually, especially when ceiling mounted. I know having the casework done up in black is most likely a cost saving measure, but I wouldn't mind (and I don't think others would either) paying a nominal upcharge for a white façade.

As of right now the Osprey screen is only offered in one material, Elite's own CineWhite 1.1 gain material, which is a solid performer but for users with ambient light considerations it isn't ideal. Elite offers other screen materials, including an acoustically transparent material, in their other drop down screens so I'm curious as to why they're not offered here.

Lastly, and this isn't a knock or a downside to the Osprey, so much as it is a downside to going with a 2:35:1 aspect ratio setup, in that it requires an anamorphic lens adaptor. There are projectors coming out that will be able to display anamorphic content without the need for a special lens attachment, but they too are costly. If you want to enjoy 2:35:1 material the way it was meant to be seen, then plan on spending at least $1,500 on an anamorphic lens or adaptor to go along with your new Osprey Tension Dual Series Screen.

Conclusion
It's hard to fault Elite Screen's Osprey Tension Dual Series Screen, especially considering its sub $2,000 starting price and feature set. Elite has managed to make a product that appeals to the wine and cheese crowd but delivers on a beer budget. Nowhere are you going to find a front projection screen that allows you to enjoy both native 16:9 and 2:35:1 aspect ratio content without first thinking about which of your children would be worth more to science.

Yes there are added costs associated with displaying 2:35:1 material properly, mainly the use of an anamorphic lens attachment, but given the Osprey's low starting price, you can use the money you save on the screen to offset the cost of an anamorphic lens. For instance, the base Osprey costs $1,999 and the Panamorph FVX200J used in this review retails for $2,995. Couple both the Osprey and Panamorph with an affordable front projector from the likes of, say, Epson and you're looking at a total package price of around $7,000 give or take - which is still less than what you could conceivably spend on a competitor's auto masking screen.

So while the Osprey Tension Dual Series Screen may have its quirks, albeit minor, they're overshadowed by its sheer value proposition, darkened room performance, ease of use and convenience. For the vast majority of consumers the Osprey is bound to be all the screens they'll ever need.

via hometheaterreview.com

Very informative and thorough review of the new EliteScreens Osprey Tension Dual Series Screen

Microvision Announces Direct Green Lasers

Laser Envy!!!

Microvision Announces Direct Green Lasers

via News at About Projectors by Jason on 11/1/10

Microvision is a leader in innovative ultra-miniature projection display technology. Today, the company announced that they have integrated the first “direct green” laser into a pico projector prototype. Direct green lasers are capable of producing green light natively as opposed to the “synthetic” green lasers that were previously used. The synthetic green lasers use infrared lasers to manipulate the wavelength so that it looks green. The direct green lasers will be significantly help simplify the projector’s design and manufacturing process. It will also require even less power to run and even cost less, which means cheaper projectors. Microvision is looking to finish their prototype soon so that other manufacturers can begin integrating them into their own products. The company announced that they already have at least five manufacturers who are planning to release direct green laser projectors between 2011 and 2012.

[via Businesswire]

Theater Squeezes into 8’ Wide Room

This is pretty cool! Shows you don't need a ton of space to create a home theater!

Theater Squeezes into 8’ Wide Room

via Electronic House Recently Filed on 9/30/10

This home theater still manages to pack in a 92-inch screen, high-performance projector and surround-sound system.

CEDIA 2010 Wrap up: New trends in home theater

See the latest happenings for the future of home theater.

CEDIA 2010 Wrap up: New trends in home theater

via Digital Trends by Nick Mokey on 9/28/10

Green home automation, 3D projectors and iPad remote apps all took center stage at this year’s annual CEDIA custom electronics trade show.

Building a Reference Grade Media Room on a Budget - Part One

from HomeTheaterReview.com

 by Andrew Robinson

I've always liked the idea of having a dedicated home theater; a simple, dark space that I could fill to the ceiling with gear and call it my own. Well, want in one hand and you-know-what in the other and see which happens first, as my Grandfather used to say. Needless to say I've never had a room solely dedicated to being a home theater; instead I've built one multi-purpose media room after another.

My former reference theater featured acoustical treatments hidden behind floor-to-ceiling fabric walls, a 92-inch acoustically transparent drop down screen, a complete 5.1 in-wall speaker system from Meridian and a dedicated equipment closet that housed a single Middle Atlantic rack littered with some of the finest electronics money could buy. The thing I truly loved most about the room was the fact that 90 percent of those who entered it had no earthly idea it was a purpose built theater. It consistently scored high marks in the "wife acceptance factor" (WAF) category with everyone but my fiancée.

She never really liked the room, for she felt it was to "fancy." While she liked that everything was hidden from view, the fabric walls spooked her a bit because we have three dogs and she worried constantly that they would damage my precious fabric walls. She had a point: custom installed fabric walls are not cheap, nor were the acoustic treatments they concealed from view. After only a year, I began to dislike my theater, for I too became overly paranoid about people or animals damaging it. The sad reality was that my reference system served double duty as our living and family room, but since we were both afraid of it we found ourselves watching television and movies in our bedroom, which featured a far less complicated and all together cheaper setup.

When it was time to move into our new home this year, we knew our approach to how we enjoy music and movies had to change, both in terms of design as well as budget, for we (like many of you I'm sure) weren't immune to the current economic climate. What follows is a play-by-play on how to build a state-of-the-art media room that is both stylish and functional, not to mention affordable.

Step 1: Have a Plan
I know this seems like it should go without saying but you'd be surprised at the number of consumers who simply waltz into their local dealer or big box store and simply begin to buy the items they think they're going to need. Having a plan, even before a budget, will pay huge dividends and save you a lot of money in the long run. Trust me.

So, what do I mean when I say, "Have a plan?" For starters, know what type of enthusiast you are. Are you a casual movie watcher, a television aficionado, an audiophile or a true die-hard and lover of all things consumer electronics? For instance if you're simply a casual movie watcher in the market for an slightly more involving experience, you probably don't need to spend a lot of time and money shopping for costly 5.1 speaker systems and AV preamp processor/multi-channel amp combos when a good soundbar and a larger, quality, HDTV will suffice.

My personal tastes tend to lend themselves towards the higher end of the spectrum with an emphasis on two-channel playback and reference grade video performance. Knowing that I was able to structure my time and budget accordingly, this allowed for the items that would directly impact the performance of those two key areas to take precedent while saving money elsewhere, hopefully without negatively impacting the system's overall performance.

Step 2: Be Realistic
It's one thing to have a plan, it's another thing entirely to think everything is going to go according to it. While I'm sure we'd all like a pair of Bowers & Wilkins 800Ds in our system, don't think for a minute that spending 90 percent on your budget on speakers and the remaining 10 percent on everything else is going to be a smart move. Don't let your lust for gear overpower your means. If you know you typically only watch two to three movies a month or listen to maybe 15 minutes of music a day on the system you currently have, don't go spending mad amounts of money hoping it will change your habits because it likely won't.

Step 3: Take Stock
A lot of consumers overlook what they currently own or have in their possession when it comes time to build and/or reinvigorate their home theater or two channel systems. Believe it or not, many enthusiasts think that the best move to make when building a system is to simply start anew. This is a good way to go over budget, not to mention overboard. You don't necessarily need to budget for or buy that new Blu-ray player when your two year old PS3 will do.

The same goes for your room's décor and furniture as well. The main purpose for building a media room over a dedicated home theater or a two channel listening space is that it can serve more than one purpose. It's about living with your system, not for your system. Balance grasshopper, balance.

For my room I already had a lot of gear that I knew would be making encore performances, mainly my Revel Studio2 loudspeakers, Mark Levinson Amplifier, Anthem D-ILA projector, SI Screen as well as various source components and cables bringing it all together.

Now I know many of you are saying to yourself, "It's easy to build a reference grade media room when you already own reference grade components." This is true; however the tips you'll find in these articles can be applied to mid-fi and even budget gear with excellent results. It's easy to get caught up in the gear and lose sight of the enjoyment, something I've been guilty of in the past, but know this: it's far easier and cost effective to make affordable gear sound amazing in a properly set up room than it is to go back and make expensive gear sound acceptable because you set off without a plan in the first place. Taking stock of what you currently own will also help you in determining how much or how little you'll ultimately have to budget for as you set off in building your new media room.

Step 4: Budget
Budget is everything nowadays and for good reason as this economy has affected everyone, from the entry-level enthusiast to the well-heeled CEO. Now, that doesn't mean we can't have a home theater or two channel music system, it just means we have to be smarter than we once were when it comes to our purchasing decisions.

There are several theories on how to budget for your new home theater or two channel system. Some people think you should shop around and demo a variety of systems both affordable and expensive and figure out what you can live with and what you can live without and then budget accordingly. Okay. Others say you should let a custom installer help you. Not a bad idea. Others suggest finding out what it is you think you can afford monetarily, then tack on 10 to 20 percent for unexpected costs, which should give you a realistic budget. Again, not a bad way to go.

Truth be told - all of the methods I've described are good but ultimately it has to be an amount you're comfortable with. Once you settle on it, hold yourself to it. Don't be afraid to say "no" or even walk away if someone, be it a salesman or a dear friend, is trying to get you to break your budget.

Having been one who's broken their budget in the past, I held myself to a strict $5,000 limit for the entire project, which included the room, décor, acoustics and equipment. A challenge? Sure. Doable? Time would tell.

Step 5: Don't Forget Your Room Is The Star
More than any single component, your room is the most important variable impacting your system's overall performance, be it audio or video, and it's often the most overlooked. I've known many who have invested thousands into their systems only to end up with sub-par performance because they didn't factor in the impact of their room.

Whenever possible, rooms that are equal in dimension, both in length and width, should be avoided, for they're only going to enhance problem nodes and frequency anomalies that exist when sound waves are allowed to collect and/or double back upon themselves as they move about a symmetrical room. This is how you get "boomy" bass, shrill highs and anemic vocals not to mention poor imaging and listener fatigue.

Rectangular rooms are better, though rooms with no parallel surfaces are ideal, though not entirely realistic given most of us are trying to integrate our systems into existing rooms. There are a number of sites and/or white pages out there that go more in depth on room acoustics and dimensions, a few personal favorites of mine can be found at www.decware.com and www.gikacoustics.com/education.html.

A common misconception among consumers is that acoustical treatments are ugly and will make your room resemble a recording studio more than a living room or highly polished media room. Untrue - in fact many foam products such as wedges, egg crates etc. do little to fix your room's acoustics for they simply do not have enough mass to be effective. So before you go plastering your ceiling, first order reflections and/or corners in charcoal gray foam, know that a large percentage of room anomalies can be solved by simply changing the layout of your room and equipment in it, mainly your listening position in relation to your speakers. All you have to arm yourself with is a bit of knowledge, some patience and a DIY attitude, all of which are free of charge.

If you find terms like Axial and Tangential Modes overwhelming, there are people and companies out there who can help guide you through the process for a small fee and even free. For my room I turned to Bryan Pape, GIK Acoustics' Lead Acoustics Designer, for assistance. HomeTheaterReview.com's publisher uses studio-tuner-to-the-stars, Bob Hodas and RPG treatments for his room, which is a little higher end of a solution.

GIK Acoustics is an Internet direct company that specializes in affordable acoustic treatments for your home or recording studio. While you can go to their website and simply order up what ever acoustic treatments you'd like, I'd urge you to take advantage of their free room setup guide. GIK's room setup guide is merely a tool or jumping off point for GIK's talented team of professionals to get in contact with you (either by phone or via e-mail) to discuss your room one-on-one to decide what products, if any, are needed to best solve your room acoustic issues. I had an idea of what I needed in terms of acoustical treatments before reaching out to GIK. After speaking with Bryan for about an hour we found that I actually needed fewer products then I originally thought.

Bryan worked with me to determine the best place to position my left and right main speakers as well as my primary listening seat in my room and then worked backwards from there. Note: I hadn't yet placed any speakers in my room, however because sound and the way it reacts to boundaries is largely predictable you can essentially lay out your entire room for optimal sound reproduction before you even install a single component. This can save you a lot of money down the road, not to mention help you in deciding just what speakers and/or components to buy.

From there Bryan and I determined the type of products I required to make my room "sing," regardless of what components or speakers I were to place within. We settled on GIK's Tri-Traps for the corners of the front wall ($129 each), two Monster Bass Traps for my back wall ($118 each) and two 233 Bass Traps ($69 each) for behind the speakers themselves. Total price $632.00 plus shipping, not bad considering I had budgeted a little over $1,000 for room treatments.

I should also point out that if you're willing to put in a little elbow grease, GIK Acoustics will sell you the raw materials to build your own acoustic treatments, which in turn will save you money. Also, there are plans online detailing how to build your own acoustic treatments using materials readily available at your local hardware store. While I was willing to pay upwards of $600 to treat my room, that doesn't mean you have to; you could very easily treat your room on as little as a few hundred dollars provided you're a little bit handy and willing to put in the time.

Part Two: Coming Soon...
Tune in next time as we dive into interior design versus performance, installation and final calibration - all leading up to the final reveal of a finished, reference grade media room.

Home Theater Screen - What Defines a Home Theater?

Does a 

home theater screen

 make a home theater complete?

Home theaters are starting to become more mainstream as technology is improving how we are able to watch movies and television in our homes. Its somewhat similar to when big screen televisions started to become more mainstream within the last 10 years. You usually can tell this because big mainstream department stores start to carry these products. These stores are known for being discount superstores so when they start to carry something new, it usually means that product is starting to take off. Another sign is that there are businesses dedicated to setting up home theaters in your home or business. They will guide you through the whole process.

Now what exactly defines a home theater? Many people will think that a big screen television hooked up to a media center or DVD player and a surround sound system is a home theater. That’s completely fine and I hope that their home theater makes them happy but to me, that is simply a home entertainment center and they have been around for decades. For the most part everyone has a home entertainment center while a lower percentage of the population have a home theater or at least a dedicated home theater.

My definition of a home theater is a room dedicated to watching your movies and other home entertainment. It has a home theater screen, an amazing sound system and very comfortable seating. For the most part, It isn’t used for everyday television watching or for the nightly sports game. You use it when you want to watch a movie and for special events like the Super Bowl or parties or whatever. There’s a home theater screen in it that is bigger than any big screen TV you can buy. The screen could be motorized or be a fixed frame screen. The room is sound proofed so you can have the volume as loud as you want without disturbing the neighbors or other people in the house. The room could have a theme, be it a sports theme, music theme or something from a favorite movie. It would have a couple rows of seating and basically be a small movie theater in your home, thus the term Home Theater.

A home theater screen is one of the primary components of a home theater as it completes the home theater experience. Its where the image is projected and where everyone’s eyes are. A screen can make a huge difference in getting the most out of your home theater. Yes, you can use a white sheet or a wall as your screen but that’s like watching blu-ray movies on a standard definition television. Also, a screen is a going to last a long time so its not something you have to worry about becoming obsolete.

What defines a home theater for you? Does it have to have a home theater screen

?

Home Theater Screen – Why do you want a home theater?

Everyone has their reasons for wanting a home theater, home theater screen or not. Why do you want a home theater? Are you a movie buff, maybe you want to watch your favorite television shows or sports on a bigger scale? How ’bout playing your favorite video games on a big screen? Modern Warfare, Halo Reach, Madden 11, NHL 11…..yes, Yes, YEs and YES!

I want a a home theater so I can have a movie theater feel in my own home. I wouldn’t have to deal with cellphones ringing and other distractions that happen at public theaters. No driving to the theater, no lines for tickets or bathrooms, no waiting for the movie to start, sticky floors, getting a bad seat, high priced refreshments, etc.. I could go on and on. Heck, I just want a room where my family and friends can watch a movie without a bunch of distractions, some privacy and no worries about disturbing the neighbors. But the very best part of having my own home theater would be the fact that I can sit exactly where I want to sit for every movie! No more sitting too close, too far away or too much to one side.

For awhile now, the opportunity to have a Theater in your home has been available. You could purchase a projector and connect it to your DVD player and some speakers and project the image on a wall or bed sheet and watch a movie like it was meant to be seen. If you really want to watch a movie like it was meant to be seen, then you need to have a home theater screen to project the image on. There is no question that it makes a huge difference in the projected image. It captures the image and shoots/reflects it right back at the audience. A bed sheet or wall doesn’t have the characteristics needed to do that.

It don’t mean a thing if you don’t have a screen!!! (A little bit of a reach but I thought it sounded good.)
Movies were meant to be seen on a home theater screen!!! See, wall or sheet doesn’t rhyme with seen. That proves it!

SCREEN YOUR LIFE!

Screen Innovations Black Diamond Screen Can Display 3D Content

Screen Innovations is the leader in projection screen technology. Today, the company announced that their Black Diamond screen material is now able to provide amazing 3D viewing experiences. The major complaint with 3D content being shown through a projector is that it needs to be a dark room in order for the 3D affect to work properly. But Screen Innovations is claiming that is not true anymore with their Black Diamond screen. The screen material comes with a new reflective surface, which allows projectors to use the polarized 3D method. The material also enhances the natural contrast of the projector by 900%. The company claims that this screen is the only one of its kind. Retail prices and a release date have not been announced.

[via Home Toys]

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This entry was posted on Wednesday, September 1st, 2010 at 11:55 am. You can follow any responses to this entry through the RSS 2.0 feed. You can skip to the end and leave a response. Pinging is currently not allowed.

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I'm not sure if there's a better screen out there right now!