Touted by integrators as being “the coolest, most forward-thinking solution to hit the Residential and Commercial entertainment space since the flat panel TV,” Pure™ Zero Edge redefines what white and gray projection screens can do to enhance the visual entertainment experience.

Filling a void onscreen and in the marketplace, Pure White and Pure Gray Zero Edge projection screens feature SI’s proprietary Micro Texture that is nine (9) times finer and smoother than that of the best screen material available on the market today. Capable of reproducing perfect resolution from 1080P to 8K and beyond, Pure delivers image quality that is razor sharp with perfect color and uniformity that provides a sensory experience unlike any other.

“Resolving the most common complaints associated with white and gray projection screens, Pure™ reproduces projected images brilliantly without any measurable color shift or visible texture,” stated Ryan Gustafson, president and founder of Screen Innovations. “It redefines the middle market by providing the coolest, most impressive and cost effective solution for video purists, enthusiasts and everyday viewers alike.”

Designed to be quickly and easily installed, Pure Zero Edge screens do not require any additional assembly once unpacked. Mounting options include on-wall or flown from the ceiling by slender cables. New optional LED Lighting is built in to the frame and now incorporates six (6) custom preferences and 256,000 colors, including 6500 kelvin white. This unique feature set provides an incredibly sleek appearance and immersive entertainment experience that can’t be achieved with any other screen.

Available in large-format projection screen sizes up to 120” in 16:9 and up to 150” in 2.35:1, the Zero Edge line now includes Pure White 1.3 gain, Pure Gray .85 gain, Black Diamond 2.7 gain, Black Diamond 1.4 gain or Black Diamond .8 gain screen materials. Prices start at $1599 MSRP and are based on configuration.

The most affordable, innovative and versatile screen technology available, Pure Zero Edge carries a lifetime replacement policy and sets a new aesthetic standard that is currently unmatched in the Residential or Commercial marketplaces. Those interested in learning more about Pure or the SI value proposition are encouraged to visit www.screeninnovations.com or call (512) 832-6939.

To download SI product images, videos, logos and associated marketing materials click on the following link: www.screeninnovations.com/downloads/.

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Recently we replaced our standard white Screen Innovations (100”, 16:9, 1.0 gain) home theater screen with a Screen Innovations Black Diamond (BD3, 100”, 16:9,  0.8 gain).  The difference is amazing.  First I’ll explain a bit about our room layout and the light sources, and then provide photos of the BD in various situations.  FYI, this is not by any means meant to be a technical review – I’m not particularly into the geeky side of video specifications.  However, when we were shopping for the screen I found myself wishing there were more photos available from actual customer installations, so I’m posting mine in the hopes that they will be helpful to someone else.

Our family room (it’s not a dedicated HT) is open to the kitchen and breakfast nook on one side (opening is approx 11’x8’) with a 6” column in the middle’), and 5 windows (dimensions: 48”x60”, 24”x60”, 48”x60”, 24”x60”, and 48”x60”) in a U-shape at the back of the room.

There is a single 48”x24” arched window up high that is covered with blackout material with a fan shade on top, although there is a bit of leakage around the edges. The 5 rectangular windows have wood blinds with blackout drapes on top. 2 blackout roller shades have been installed (one is visible in the top left of the photo below) where the room opens up to the kitchen.  The kitchen/breakfast area that the room opens up into is completely lined in glass.

Here is a shot of the room looking back from the screen location:

We took these photos around 2 pm on a bright sunny day and with the following equipment configuration:

• The comparison screen is our old white 100” Screen Innovations 1.0 gain standard screen from 2005.  It is not directional – rotating it doesn’t visibly impact the image (you’ll notice it’s sitting up sideways in these photos).
• The projector is a Panasonic AE2000U from 2004 with a newly replaced bulb.
• The 0.8 gain Black Diamond is mounted normally on the wall, with the white screen propped in front of it on the right hand side.  The white screen isn’t perfectly flat, but I’m looking at image saturation and contrast here, not perfect focus
• The projector is mounted at the maximum recommended distance of 12” above the top of the screen.Moving it down 6-10” didn’t appear to produce any noticeable difference in the image.

The BD appears much brighter than the old white screen (despite the slightly lower gain), and shows a bit of blue shift, so we have decreased the brightness on the projector and slightly adjusted the color temperature.  The brightness adjustment was also needed to get proper black levels on the BD.  These modifications didn’t result in much noticeable difference on the old white screen, so all photographs have been taken with the BD projector settings.

One drawback to the BD is that during higher-ambient-light situations like watching football at 2 in the afternoon, there is some unevenness to the image as you move off-center. I wasn’t able to photograph this properly. It’s really only noticeable when you have an image (like a football field) that puts a single color on most of the screen; the effect was most notable in the bottom corners of the image in our setup. Even those bits look a ton better than the old white screen, however, so I don’t find this to be a problem.

In a darkened room, I occasionally notice some sparkling on portions of the image that are particularly bright.  I find this to be a minor effect, and completely tolerable, but if you’re bothered by this sort of thing, then this screen is possibly not for you.

In summary: If you have a light control problem, or you want better blacks in general, definitely consider the BD.  I’d recommend demoing it in person, though, so you can get a look at the evenness of the image and see if you are sensitive to the minor sparkle effect. Personally, I’m in love with this screen, and now that I’ve lived with it for a few weeks I can honestly say it has changed our home theater experience for the better.  We’re also using the theater room more, since we can now watch the projected image at any time of day.

For the record, I don’t work for Screen Innovations.  I’m just a happy customer.

There are 5 sets of photos (click here to see the full review and all pictures):

1. BD vs white screen: overhead lighting
2. BD vs white screen: ambient light/windows
3. BD vs white screen: completely darkened room
4. BD only, single image: varying light conditions
5. BD only: darkened room

The test images shown are from The Dark Knight Rises and Avengers Blu-Ray discs.  I have tried to avoid any spoilers in the images, just in case there’s somebody left in the world who hasn’t seen either movie.  The images were taken with a tripod-mounted camera on manual exposure; obviously we changed the exposure as the lighting in the room changed, but within any series of photos where the lighting is unchanged, the exposure is the same.  The photos were taken zoomed out a little bit so you can get idea of the brightness of the room and surroundings.  I’ve photographed some of the scenes in all 3 lighting conditions; other images are random.

1) BD vs white screen: overhead lighting

The first set of photos was taken under the following conditions:

• Blackout shades: down
• Overhead lighting (four in-ceiling recessed 65W BR30’s in 6-inch cans): on
• Back blinds: closed
• SIde blinds: closed
• Blackout drapes: open

The standard screen is nearly unwatchable in this lighting situation, but the Black Diamond looks darned good.  Notice the black levels and improved contrast on the Black Diamond side.  I didn’t even bother to take any Avengers photos here since TDKR was so washed out.

2) BD vs white screen: ambient light/windows

For this set of photos, the room is configured as follows:

• Blackout shades: up
• Overhead lighting (four in-ceiling recessed 65W BR30’s in 6-inch cans): off
• Back blinds: closed
• Side blinds: open
• Blackout drapes: open

There is a ton of light coming in from the right side where the room opens up into the kitchen, and quite a bit coming from the two side windows (plus some amount of leakage from the closed blinds on the back windows). The white screen is again on the right, and therefore getting a bit more ambient light from the kitchen side, but moving it to the left doesn’t have much impact on the image on the white screen, and the camera captured a spotty glare on the top right side of the BD that wasn’t particularly visible to the naked eye.  If the white screen is removed, the image on the BD gets slightly washed out closer to the top right edge; jump here for images of the entire BD (no white screen) in various lighting conditions.

3) BD vs white screen: completely darkened room

For the final BD-vs-white comparison, we took a set of photos with the room darkened as much as possible at 2:30 PM.  All shades/blinds are closed.

• Blackout shades: down
• Overhead lighting (four in-ceiling recessed 65W BR30’s in 6-inch cans): off
• Back blinds: closed
• SIde blinds: closed
• Blackout drapes: closed

Look carefully at the blacks on the left-hand side and you will see that the BD is still giving us better blacks as well as better detail in the dark areas.  TDKR is not 16:9, so you can see the difference the gray screen makes in how visible the bars on the top and bottom are.  If you’re sitting on the borderline about masking, the BD might be enough.

I’ll note some things to look at on a couple of the pictures.

The uniforms of the policemen are blacker on the BD:

The Joker’s black eye makeup is blacker on the BD on the left.  The photo may appear  slightly misleading depending on how your computer monitor is set up, but in person the purple jacket on the left is saturated and vivid, whereas it’s washed out and dusty-looking on the white screen on the right.

You have to look closely at this next image, but again the blacks on the left are slightly blacker:

The next images are from the Avengers, which is 16:9, so there are no more black bars on the BD; because the white screen is turned sideways you can see the edges of it if you look closely.

In this next shot, note the color of the back wall and the unlit portions of the floor:

Here, look at the color of Tom Hiddleston/Loki’s jacket on the left side of the division versus the right:

Notice how the monitor bezel is blacker in the left hand photo with the BD:

The background of Robert Downey Jr./Iron Man’s HUD (Dear Joss, that’s short for “Heads Up Display”) is blacker on the BD (still on the left):

Notice the difference in coloring of Jeremy Renner/Hawkeye’s chair and the Quinjet controls on the left, vs the gray you see on Scarlett Johansson/Black Widow’s side.

4) BD only, single image: varying light conditions

I also took a series of photos of the BD only, slowly varying the lighting from as dark as possible at noon in Texas to as bright as possible.  The starting setup is the same as above.  I have split the blackout shades into separate left/right since I will raise them one at a time in the photographic sequence.

• Left blackout shade: down
• Right blackout shade: down
• Overhead lighting (four in-ceiling recessed 65W BR30’s in 6-inch cans): off
• Back blinds: closed
• SIde blinds: closed
• Blackout drapes: closed

In the next photo, the overhead lights have been turned on.  There is very little degradation in the image on the BD even though there is quite a bit of light shining from overhead:

Next, we have opened the blackout shade covering the *right* half of the opening into the kitchen, meaning we’re now getting a lot of ambient light in from the back right hand side of the room:

In the next shot, we opened all the curtains, and opened the blinds on the side windows:

At this point, we turned the overhead lights back off, leaving everything else the same – i.e. there is no overhead light in the room, but quite a bit of natural light coming in the various windows and from the kitchen.  You will notice that the right hand side of the image is slightly more washed out due to the massive amount of natural light coming in from the kitchen windows:

Next, we have opened the blackout shade covering the *left* half of the opening into the kitchen, meaning that almost the entire right-hand wall is now completely open.  The screen is getting hammered with light, especially on the right-hand side.  The old white screen would present almost no discernable image at this point.

In the image below, we have now opened the back blinds so that the entire back side of the room is open to natural light from outside. This is pretty much the worst-case viewing scenario in the house, since we never watch movies with the overheads on due to the fact that the entire back side of the house is windows.

For completeness, here it is with the overheads turned on in addition to all of the windows/blinds/shades being open.  You can see that turning the overhead lights on doesn’t have much impact on the image:

5) BD only: darkened room

Here are some additional photos showing a full 16:9 image on the BD in a darkened room during the day (i.e. slightly imperfect light control, but all blinds and shades are closed/down).

All content and images are courtesy of B. Bruce | End User

R.Branson | End User

Introduction to the Affordable Anamorphic Lens System

When I finally took the plunge into a projection setup in my home theater, the hardest decision I had to make was what aspect ratio to get for my screen. Everything that came after that, from the screen material to the projector, was dependent on that decision. For most people it is simple and they go with a standard 1.78:1, or 16:9, ratio for their screen, as that is the HDTV standard. Years of going to CEDIA and seeing these setups with massive anamorphic screens where cinemascope films fill the whole screen had led me to go down that road. Most films that I watched seemed to be 2.35:1 or greater, and I didn’t want the possibility of black bars to distract me.

All of the anamorphic setups at CEDIA are often incredibly expensive. They use automated masking screens from Stewart that can cost up to $50,000 alone, lenses from Panamorph and ISCO that also approach $10,000, and expensive projectors to drive those screens. None of this was close to falling inside my budget. Recently JVC and others had started to demo their projectors with lens memory on a Screen Innovations Black Diamond screen, which allowed them to fill the full 2.40:1 area of the screen automatically, but also hide the sides of the screen when watching 16:9 content. These worked well, but lens memory from the projectors can often be hard to setup, misalign, and requires a specific throw distance.

This year Panamorph announced their least expensive anamorphic lens, the CineVista. Now for $1,200 you can have an anamorphic lens for your system, and so the pieces for an affordable system had fallen into place. For this review I used a 122″, 2.40 Black Diamond 1.4 screen, the Panamorph CineVista lens, and the Sony VPL-HW50ES projector that won our award for the Best Projector of 2012. Would I finally be able to assemble the anamorphic system I wanted, and keep both kidneys?

Design and Setup of the Affordable Anamorphic System

For this review, all of the components play a specific role that is essential to the system, and all of them have their own set of benefits that are important to understand. The first item to look at is the Black Diamond screen. Known for its ambient light rejection, in the past four years Screen Innovations has gone from a company you saw at a couple booths at CEDIA to one that rivals Stewart in how many rooms they can fill. The BD 1.4 is a very dark screen, but still amplifies light coming from the projector while rejecting that from other directions. This makes it ideal for a room without perfect light control, or for throwing into a multi-purpose room where you may want a movie with the lights on. The dark surface is also ideal for our task here, as it virtually disappears in a dark room.

The CineVista from Panamorph is the least expensive anamorphic lens that they have offered, and the most affordable that I can recall seeing. Using a multi-optic lens, the CineVista horizontally expands the image 33%, taking what was a 16:9 image and turning it into just over a 21:9 image. Where the more expensive lens systems have motorized systems to move them in front of the projector and then out of the way, those mechanisms typically cost more themselves than the CineVista lens does. It is designed to be in place the whole time, using technology found in our projector, the Sony VPL-HW50ES.

The image quality of the Sony VPL-HW50ES is well documented from my prior review of it, but it has a few features that make it an ideal choice here as well. The first is that is has the two necessary anamorphic modes for the CineVista lens. There is a vertical stretch, where all the content is expanded to fill the letterboxing area. This would make people traditionally look very skinny, but our lens is going to stretch them out horizontally by 33% to correct for this. It also has a horizontal squeeze mode, to use with 16:9 content that has no letterboxing to correct for the anamorphic lens expansion.

It also has the new electronic color correction (ECC) technology. One downside to the CineVista lens, and how they can his that price point, is that it introduces some color fringing at the extremes of the lens. Just like less expensive lenses on your DSLR camera have more chromatic aberration than the $25,000 Zeiss lenses do; a less expensive anamorphic lens will have more fringing than a top of the line model does. The ECC technology allows you to digitally correct for the color issues at dozens of points across the screen, virtually eliminating it. Here you see images with and without ECC configured.

Now with all of these pieces ready to go, it was time to assemble the system. The Black Diamond screen is unlike anything I had built before. My normal screen is a Screen Innovations SolarHD, which is very color neutral and designed for a totally dark room. The Black Diamond came sized for the same frame, but requires different connectors and so I had to start from scratch. The BD material is very heavy and is actually rigid, coming on a very large cylinder designed to enable shipping while preventing it from developing a kink. Your standard screen material this certainly is not.

Installing it required carefully laying it out and attaching a series of a few dozen bungee cords to the frame fasteners. Done slowly, with gloves, and taking care to not damage the material, this was done in just over an hour. Once it was attached, there was a protective layer to remove from the front, and then the Black Diamond screen was up on the wall. The dark color was certainly different than the stark white of the SolarHD.

Attaching the Panamorph lens to the Sony projector was a much faster, 15-minute job. Once it was attached and positioned correctly, I turned on the electronic color control system to see how the image was. The center of the screen was very sharp, but the edges had a lot of chromatic fringing that got worse the closer you were to the edge. Using the pixel adjustments, in around 30 minutes I was able to clean up the grid to the point that only the very edges were noticeably fringing, but only if you were up close. As the Panamorph CineVista is designed to stay in place the whole time, once it was aligned correctly, I was done with the adjustment on it.

The Affordable Anamorphic System In Use

Once everything was in position, the last film left in my Blu-ray player was the reboot of Star Trek, which was as good a place to start as any. Starting it up, I set the projector into anamorphic stretch mode, and I was off. Quickly the whole screen was filled without needing to adjust the zoom and focus on the projector, and I started looking for issues. Geometric distortions might have been there but I couldn’t see them, and the scaling done inside the projector was handled very well. The image was much brighter than when I manually zoomed, as the lens was allowing the projector to use the full SXRD panels and not just a fraction, increasing light output. Overall, this is a very good start for the anamorphic system.

For more worrisome to me is watching 16:9 content on the lens. Because of how it has to scale the image to work with the horizontal expansion, the 1920×1080 content was going to be scaled down to 144×1080. Throwing on The Art of Flight, I was prepared to see artifacts around the screen, and notice the lack of resolution in comparison to without the lens. Sitting around 10′ away from the 96″ 16:9 image, I didn’t notice any of that. The image was clear and detailed, and still very bright. A shot of a runway, with diagonal markings that I was certain would show aliasing, were clear and as detailed as I could remember. I didn’t see anything that would make me think this was losing resolution, or that took me out of the moment.

With the Black Diamond screen, the main benefit is you can watch movies with the lights on as well as off. The light rejection properties of the screen make it so your regular lights won’t reflect while your projector image does. Testing this out I threw on Chunking Express and left the lights on in my room. Not once did the in-ceiling lights distract from the image, or take me out of the movie. Throwing on The Fifth Element I would switch the lights on and off and am still able to see the image without it being washed out. I found the experience with the lights off to be more immersive, as it replicates the movie theater experience more, but I enjoyed the flexibility of having the lights on. Being able to have friends over without needing total darkness to watch a movie was a welcome change.

After I had used the Black Diamond screen for a few weeks, I swapped it out for the Screen Innovations SolarHD 4K material. Unlike the Black Diamond screen, this is designed only for rooms with total light control, as it will reflect all light. Turning the lights on with this screen will result in a washed-out image unless you have a projector putting out thousands of lumens at once. Since my prior screen material is the previous generation of SI SolarHD, I had a good idea of what to expect from this material.

Watching Looper, the SolarHD material looked wonderful. It was a very neutral image, free of any sort of sparkles or hot spotting, and with a very smooth texture. It gave me the image that I expect to see in a movie theater, but because of that it expects a movie theater environment. If I switched to a 1.85 or 1.78 film, the image was still wonderful but the sidebars were more visible than they were with the Black Diamond, where its color and light rejection help to hide the screen. For the video purist, the image on the Solar 4K material was hard to beat, but it isn’t nearly as flexible as the Black Diamond screen is.

Conclusion about the Affordable Anamorphic System

With an anamorphic setup there are a few choices to make, and each has their own side effect. One might wonder why we would use an anamorphic lens over a projector with lens memory now. After all, lens memory comes built into many projectors, and can do many different positions including one for 70mm films and their 2.20:1 ratio. It also keeps you with perfect 1:1 pixel mapping and avoids the stretching and scaling that the lens requires.

Using lens memory has a few side effects as well. It can be slower and sometimes won’t line up perfectly. It also has light spill-over on top and bottom of the screen so that you will see reflections above and below the screen. This isn’t as bad with newer projectors and their lower black levels, but you can still see it. The largest side effect that I find is that zooming from 1.78:1 to 2.40:1 drops your light output by 30-40%. If you have your 1.78:1 image set to 16 fL, then your zoomed image will only be 10-12 fL at most. This means you either have to run the projector on high lamp mode and shorten its life, or continually adjust the iris as you watch different films.

One downside of the anamorphic lens, beyond the already discussed issues, is that it is designed for content to be either 1.85:1 or 2.40:1, but not ratios in-between. 70mm films are a 2.20 ratio, and when viewed using an anamorphic lens you lose a bit of the top and bottom of the film. This could be fixed using an external processor like a Lumagen Radiance, but then you need to scale the film in two directions to make it fit correctly, possibly leading to more image issues. With 70mm films and an anamorphic lens you lose around 7% of the vertical content due to the 1.33x expansion. For some this won’t be acceptable, but if you only have a few 70mm films, or none, it may not be a factor at all.

The Black Diamond screen also has its trade-offs depending on your environment. Compared to the SolarHD 4K material, it has a hot spot that you might notice, and large patches of color can make sparkles from the high-gain material visible. As soon as you turn a light on these issues are forgotten, as the Black Diamond puts out a picture in a room with light that no one can touch. It is like having a giant LCD screen in my room; only I don’t need to have a reinforced wall to support it. If you have a pitch-black room and never want to watch with the lights on, then the SolarHD is going to be your ideal choice, but the Black Diamond lets me do things with my theater I didn’t think possible before.

Coming into this review, I was a bit indecisive about the anamorphic lens. I worried about the loss of resolution for 16:9 content, and about the lack of 1:1 pixel mapping. I thought the scaling might look bad, and that geometry issues would drive me away. Having had the lens around for a few weeks now, I want to keep it here for good. The cinemascope image is brighter, I don’t notice any flaws unless I’m looking at a test pattern, and switching between 1.78 and 2.40 content takes only a couple button presses on the remote. All the things I worried about don’t bother me a bit, and the obsessive purist in me goes away as soon as a movie begins to play.

For less than a lens cost just a few years ago, you can now put a full cinemascope experience into your house. Then you can sit back, throw on Star Wars, and relive it like it was the first time you saw it. Now you really do have the full movie theater experience at home, and at a price that wasn’t possible before.

The original story appears on The Secrets of Home Theater and Hifi website, and can be found by following this link: http://www.hometheaterhifi.com/video-accessories-misc/video-accessories-misc/affordable-anamorphic-system/all-pages.html

Images and content provided by Secrets of Home Theater and Hifi.

Manufacturers discuss new products and the unrivaled value and versatility of two-piece projection solutions for Residential and Commercial installations

Austin, TX – March 25, 2013 – Screen Innovations (SI), a leading US-based manufacturer of projection screens and associated technologies for Residential and Commercial applications, announced today that the Company has released a series of videos that serve to educate and inspire the audience about as to the value and versatility of two-piece projection systems.

Featuring a high level technical overview of new projectors and current technologies delivered by representatives from Sony, JVC, Epson, Digital Projection and SI, each video includes dialogue about how two-piece projection systems can be just as easily incorporated into multi-purpose home entertainment spaces as they can be in dynamic, immersive commercial applications. Each video provides current models, pricing, features and applications, which is useful for integrator and end user audiences alike.

Professionally shot onsite at the SI world headquarters in Austin, Texas, the videos include:
SI Keynotes – Residential & Commercial
SI walks through their 2013 Residential and Commercial projection screen product lineup, giving the audience a solid overview of purpose, feature, benefit and usage for each series:
Residential Keynote: www.screeninnovations.com/news/residential-keynote/
Commercial Keynote: www.screeninnovations.com/news/commercial-keynote-screen-innovations/

Projection Category Round Table – Residential
JVC, Sony, Epson, and Screen Innovations round table two-piece projection’s history and evolution, current trends, technologies, and unique attributes of products on the market designed to improve the Residential home theater/cinema/entertainment experience. To our knowledge, something like this has never been done:
www.screeninnovations.com/news/round-table-jvc-sony-epson-screen-innovations/

Digital Projection – Commercial
Digital Projection & SI Discuss the technology behind the new DP E-Vision 8000 Commercial projectors and how they work with Black Diamond Venue screens:
www.screeninnovations.com/news/digital-projection-screen-innovations-commercial/

Digital Projection – Residential
Digital Projection and SI discuss the Titan Pro 660 Residential projectors and how they function with Black Diamond Venue projection screens. This was filmed during a daylong Digital Projection product training held at the SI headquarters:
www.screeninnovations.com/videos/digital-projection-screen-innovations-training/

Digital Projection – Residential
Digital Projection & SI Discuss the technology behind the new Digital Projection 1080P Scope, M-Vision, and E-Vision Residential projectors and how they pair with Black Diamond screens:
www.screeninnovations.com/news/digital-projection-screen-innovations-residential/

Sony – Residential
Sony and Screen Innovations discuss the new Sony VPL-HW50ES Residential projectors and how they function in multi-purpose and open concept entertainment spaces with Black Diamond Zero Edge projection screens. Current Sony SXRD technologies, gaming solutions, and cost per square inch equations are also discussed:
www.screeninnovations.com/news/sony-new-projectors/

JVC – Residential
JVC & Screen Innovations sit down to discuss the latest JVC Pro 4K projectors including the DLA-RS-46, DLA-RS56 and their value proposition for multi-purpose spaces. 2:35 and 16:9 aspect ratio features and benefits are discussed, as other new features exclusive to JVC and how those relate to current home cinema usage:
www.screeninnovations.com/news/jvc-pro-new-projectors/

The videos, which are available for viewing on the SI website, Vimeo and YouTube, are produced to not only educate a diverse audience on two-piece projection solutions including Screen Innovations products, but also to illustrate their relative ease of installation and use plus the value and versatility SI projection screens provide when compared to flat panel TVs.

Those interested in learning more about Screen Innovations are encouraged to visit www.screeninnovations.com or call (512) 832-6939.

To download SI product images, videos, logos and associated marketing materials click on the following link: http://www.screeninnovations.com/downloads/

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Screen Innovations Media Contact:
Katye (McGregor) Bennett
KMB Communications
E. Katye@kmbcomm.com
O. (406) 446-1283
C. (425) 328-8640
T. @SIScreens & @katyemcgregor
W. www.kmbcomm.com

Innovative Motorized Screen Technology is Easy to Install and Delivers Impressive Image Quality While Preserving Existing Room Aesthetics

Austin, TX – March 25, 2013 – Screen Innovations (SI), a leading US-based manufacturer of projection screens and associated technologies, announced today that the much-anticipated Black Diamond Motorized projection screen is now shipping to integrators and end users worldwide.

Black Diamond™ Motorized
Featuring a brand new and truly unique motorized design utilizing SI’s award-winning Black Diamond ambient light rejection screen technology, Black Diamond Motorized is a sleek and sexy flat panel alternative that delivers stunning images yet disappears when not in use, making it ideal for virtually any environment or application.

Utilizing one motor, four custom helixes, and a spool of slender aircraft cable, Black Diamond Motorized silently lowers a thin wing containing the rolled Black Diamond screen downward from a recessed ceiling-mounted cassette. The cable-hung wing then stops, and from it, a small tube quickly emerges and lowers itself down to an adjustable, pre-determined image height, leaving only the image space in sight. Because Black Diamond screens do not require masking or any black drop material whatsoever, there is no visible material above, below, or on either side of the screen surface, allowing the images projected on Black Diamond Motorized to appear as though they are suspended in air.

Unlike flat panel TVs, Black Diamond Motorized delivers zero glare and reflection when used in a bright environment, and by virtue of its industry-leading Black Diamond ambient light rejection screen technology, light scatter is measurably reduced by over 75%. Delivering a next-level entertainment experience while literally disappearing into the room’s existing décor when not in use, Black Diamond Motorized appeals to the senses – and satisfies the needs of – a diverse audience in either residential or commercial environments. Black Diamond Motorized is the ultimate blend of art + science.

Videos: http://www.screeninnovations.com/projector-screens/motorized/black-diamond-motorized/

Those interested in learning how Black Diamond Motorized solves complex installation challenges and delivers next-level entertainment experiences for a wide range of applications are encouraged to visit www.screeninnovations.com or call (512) 832-6939.

To download SI product images, videos, logos and associated marketing materials click on the following link: http://www.screeninnovations.com/downloads/

###

Screen Innovations Media Contact:
Katye (McGregor) Bennett
KMB Communications
E. Katye@kmbcomm.com
O. (406) 446-1283
C. (425) 328-8640
T. @SIScreens & @katyemcgregor
W. www.kmbcomm.com

“This is truly a dual-purpose room that operates equally well as a playroom and a powerful and compelling movie theater,” says Bryant Moore, president of custom electronics design and installation firm Moore Audio Design in Matthews, N.C. For true cinematic viewing, an anamorphic lens slides in front of the projector to display CinemaScope movies in the ultra-wide format.

With the screen retracted, the playspace looks like this:

Lower the screen, and it’s movie time!

See the full story online at: http://www.electronichouse.com/article/playroom_with_hidden_screen_doubles_as_home_theater

Integrator:

Moore Audio Design

Matthews, NC

Phone: 704-631-8408

Web: www.mooreaudiodesign.com

R.Branson | End User

We’re happy to announce that we’ve put the finishing touches on our new Screen Innovations mobile website, SI Mobile. SI Mobile enables and empowers your business by providing access to all the valuable SI tools from any of your favorite devices!  Now, you can place orders, create quotes, or email a CAD drawing any time, any place, 24/7/365. Give it a try!

Call us with any questions 512-832-6939.

• Screen Calculator
• Screen Wizard
• Seating Wizard