{"id":7213,"date":"2025-01-23T17:13:05","date_gmt":"2025-01-23T22:13:05","guid":{"rendered":"http:\/\/www.thesmarthomehookup.com\/test_install\/?p=7213"},"modified":"2025-03-06T13:51:31","modified_gmt":"2025-03-06T18:51:31","slug":"projector-screen-buyers-guide-2025","status":"publish","type":"post","link":"https:\/\/www.thesmarthomehookup.com\/test_install\/projector-screen-buyers-guide-2025\/","title":{"rendered":"Projector Screen Buyer’s Guide 2025"},"content":{"rendered":"\t\t
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Choosing a projector screen in 2025 is much more complicated than choosing a projector, and in this video, I\u2019m going to go through all the nuances of picking the screen that\u2019s right for your projector and your space. If you just want my general recommendations, I\u2019ve got those timestamped at the end of the video, but I do have 19 screens ranging from $59 all the way up to $3500, half a dozen of the most popular projectors on the market, and over $10,000 of equipment to test them with, so stick around if that sounds interesting to you.<\/p>

Screen Form Factor<\/h3>

The first choice you\u2019ll need to make is the easiest and that\u2019s whether you want a fixed frame screen that hangs on a wall, a roll down screen mounted on the ceiling, or a roll up screen on an entertainment unit or even on the floor.<\/p>

If you\u2019ve got the space for it, a fixed frame screen comes with some major advantages including better and more uniform tensioning which prevents wrinkles in the screen, a greater variety of sizes and materials, and one underappreciated feature of fixed frame screens is the ability to have large felt covered bezels that can block the small light border and overspill that many popular projectors have.<\/p>

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In general, fixed frame screens are compatible with all projector types, with one exception being ultra-short throw projectors with abnormally short throw ratios which may not be able to clear the bottom bezel resulting in a shadow on the bottom of the screen.<\/p>

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If you go with a ceiling mounted dropdown screen you\u2019ll can choose between motorized and manual versions, as well as standard and tab tensioned varieties. Typically, you can expect the motorized versions to cost more, but aside from the obvious convenience advantage of a motorized screen, another benefit is that they can be programmed to always unroll to the exact same height, which is easily configurable using the remote\u2019s setpoints, while a manual screen generally has pre-determined stop points every 1-2 inches. So, you may need to play with your projector\u2019s mounting position to correspond to those stop points.<\/p>

As for tensioning, a non-tab tensioned pull down screen will almost always have a slight curl on the sides of the screen, and a subtle cup in the middle. For most standard throw and short throw projectors, small tensioning imperfections like those will have no effect on the projected image.<\/p>

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But for an ultra-short throw projector, any small waves are significantly magnified by the steep projection angle and the result is a wavey, distorted image that is basically unwatchable, especially in panning shots. So, if you have an ultra-short throw projector and you want a roll down screen, you should really only consider a tab tensioned screen that uses elastic lines to pull the entire screen outward, significantly reducing or eliminating any cupping in the screen.<\/p>

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Last, unlike drop down screens which give you choices for motorization and tensioning, almost all floor rising screens use tab tensioning and motorization, and like their ceiling mounted counterparts, the final height of the screen is completely configurable down to less than a centimeter using the remote\u2019s setpoints.<\/p>

The obvious advantages of these roll away screens is that you don\u2019t have to have a large, dedicated wall taken up by your projector screen, and it allows you to put a large screen in a space that normally wouldn\u2019t be suitable because of window placement. But they do have some downsides compared to fixed frame screens including imperfect tensioning around the left and right edges, fewer available screen materials, and no borders to absorb light spill. But probably the biggest issue with any roll away screen is that since they roll up extremely tightly, any larger specks of dirt or debris that end up on the screen can leave memory dimples in the material which are almost impossible to get out.<\/p>

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Painted Walls<\/h3>

Another option is to forgo a screen completely and project onto a painted wall, but that does present its own unique set of issues. First, just like using a non-tensioned dropdown screen, most walls are not as uniform as you think they are, and an ultra-short throw projector is a great way to find out just how wavey your wall actually is. For this reason, I really wouldn\u2019t recommend projecting directly onto your wall using an ultra-short throw, but a standard or short throw projector will usually be fine.\u00a0<\/p>

Second, because you\u2019re using paint, even special formulations designed for projection are not likely to give you the same levels of ambient light rejection as some manufactured screen materials can.<\/p>

Third, people generally choose to project directly onto a wall when they want to achieve massive screen sizes, but in those cases, you still need to account for speaker placement. With a screen, you have the option of choosing an acoustically transparent material to mount your speakers behind, but no such option exists for projecting directly onto a wall.<\/p>

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After you\u2019ve made the easier decision of picking a screen form factor, the next important choice is choosing your screen material. Over the last three years, there has been an absolute explosion in screen material types, each having a unique set of characteristics. Lucky for you, I tested all of them, but I\u2019m not going to lie to you. It\u2019s still complicated, so just bear with me.<\/p>

Screen Material Testing – Screen Gain<\/h3>

The first measurement to understand is screen gain, which means how bright the screen appears compared to a pure white material called a Lambertian surface. Screens with reflective treatments and screens that have a lens structure can have gains above 1.0, meaning they will increase the perceived brightness of your projector, while screens that have a gain of less than 1.0 will make the projected image appear dimmer.<\/p>

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Everyone has a different opinion when it comes to how bright a projector should be but typically a traditional home theater will favor a dimmer screen with a peak brightness around 100 nits, while most TVs can easily hit peak brightness values of 1000 nits or more. So, when thinking about screen gain, you\u2019ll need to decide if you\u2019re looking for a TV replacement, which would favor a higher gain screen, or a more traditional home theater experience or even something in between.<\/p>

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Regardless of the screen gain that you choose, it\u2019s important to understand that you can\u2019t really change the contrast ratio of your projector. So, a 2.0 gain screen will double the peak brightness, but also double the black floor and a 0.5 gain screen will cut both those values in half, resulting in a dimmer overall image, but more or less the exact same contrast ratio.<\/p>

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If you\u2019re planning on watching your projector in a completely dark room, a very bright screen may be uncomfortable to watch, while a dim screen in a room with ambient light will tend to look dull and washed out. I personally prefer a small amount of ambient light in the room and a higher gain screen, but it\u2019s really just personal preference and there\u2019s no wrong way to enjoy your home theater.<\/p>

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So with that explained, here are the gain values of the screens that I tested for this video. You can see that pairing the Formovie Fresnel with an ultra-short throw projector resulted in the highest gain of around 2.5 in the bottom middle of the screen, while the AWOL Lenticular screen paired with a standard throw projector had the lowest gain of around 0.3 when measured from that same eye level point around the middle of the bottom third of the screen.<\/p>

You can also see that while the white screens have basically the same gain value regardless of the projector type, screens that are classified as ambient light rejecting or ALR depend heavily on the type of projector being used. Up until very recently, ultra-short throw projectors were king for ALR applications, but that does seem to be changing in 2025.<\/p>

Ambient Light Rejection<\/h3>

The next measurement we\u2019re going to focus on is ambient light rejection which unlike screen gain, can actually lead to greater perceived contrast in your home theater, not by increasing the contrast of your projector, but by minimizing the effects of uncontrolled light and reflections off the screen.\u00a0<\/p>

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To calculate ambient light rejection, I first measured the luminance of a white screen in two different lighting conditions, first with a bank of LED lights positioned at a 45 degree relative angle more or less right above the screen, and then again with an identical bank of LED lights at a 15 degree angle which is more similar to where you\u2019d normally be seated. Then I calculated the expected ambient light luminance of each screen by multiplying their screen gain by the luminance of the white screen, and then I measured their actual ambient light luminance and used this formula to determine their ALR performance.<\/p>

Before we dive into those results, you should understand the three basic methods that ALR screens can work, meaning how does a screen differentiate between your projector\u2019s light that you want reflected back to you versus ambient light that you want rejected.<\/p>

The first type of ALR screen has been around the longest and it\u2019s called angular reflective material. It works by reflecting light on axis at an equal angle to its origin. In this video, the Screen Innovations Black Diamond 0.8 gain and EliteScreens Cinegray 5D materials work on that angular reflective property.<\/p>

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As you can imagine, this makes them completely unusable for ultra-short throw projectors, since the projected image comes in from a steep angle from the bottom and then leaves at a steep angle towards the ceiling. But you can see the same effect working in its favor as the Black Diamond material rejects 94.2% of the ambient light from the lights directly overhead when compared to a white screen, but only 76.8% of ambient light from the lights mounted above the viewing area because they\u2019re coming in at an angle more similar to where you\u2019d typically mount your projector.<\/p>

You can also see that not all angular reflective materials are made equally, and the more budget friendly EliteScreens Cinegray 5D, only rejects 83.6% of the light from the source directly above the screen compared to 94.2% for the SI Black Diamond, and 57.3% from the lights above the seating area compared to 76.8% for the more expensive screen.\u00a0<\/p>

The second type of ambient light rejection is called lenticular ALR. It works using a 3D structure in the material itself. Lenticular screens have historically been designed to be used only with ultra-short throw projectors. Those screens have a distinct sawtooth structure where the top of each triangular region has a light absorbing coating which blocks light coming from the ceiling while the angled portions are reflective, directing light from the projector towards the viewing area. You can see that all three UST lenticular screens look basically identical under a microscope with a clearly defined lenticular ridge pattern, but the AWOL screens have a slightly more reflective white region leading to higher overall gain.<\/p>

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And you can see the three ultra-short throw lenticular screens that I have were able to reject around 90% of light coming from directly above the screen, and between 65% and 70% of the light coming from the ceiling above the viewing area, but they are almost completely ineffective at rejecting light coming from the sides or below the screen.<\/p>

However, a brand new design has just hit the market in 2025 that is advertised as a lenticular screen for standard throw projectors. The structure is similar but instead of a sawtooth, it has two light absorbing triangular regions that shield a reflective strip in between the ridges. At least that\u2019s what\u2019s being advertised, but you can see that under a microscope they look almost like a combination of a UST lenticular screen and an angular reflective screen.<\/p>

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In my testing, the four lenticular standard throw screens had good performance for lights mounted directly above the screen, but unsurprisingly just middle of the road performance as the ambient light got closer to where you would normally place your projector. While you can technically use a UST lenticular screen with a standard throw projector with some caveats that I\u2019ll go over later, a standard throw lenticular screen is completely unusable with an ultra-short throw projector.<\/p>

The third and last type of ambient light rejecting screen is called a Fresnel screen, named for the concentric circle pattern that radiates from the center of the screen. The Fresnel screens designed to be used with ultra-short throw projectors were by far the most effective at rejecting ambient light from every direction including above the screen, above the viewing area, and from the sides.\u00a0<\/p>

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Just like lenticular screens, for the last few years all Fresnel screens have been designed to work only with ultra-short throw projectors, but I do have one new Fresnel Screen material from Valerion that is designed to work with standard throw projectors. You can see that its ambient light performance isn\u2019t as impressive as the ultra-short throw versions, only rejecting about 50% of ambient light from above the seating area compared to the more than 90% light rejection on the UST Fresnel screens.<\/p>

Now that you\u2019re more familiar with the different screen materials, let\u2019s talk about why you might choose one over another and why you might not want an ambient light rejecting material at all.<\/p>

ALR Issues – Laser Speckle<\/h3>

First, the biggest issue with certain screen materials right now is something called laser speckle that happens with the newest generation of triple laser projectors. The image quality and color vibrance of RGB triple laser projectors like the Valerion Pro 2, Hisense C2 Ultra, and Hisense PX3-Pro is really something you need to see to appreciate, but the downside is that, on certain screen materials, areas with bright uniform color will look like they\u2019re sparkling especially if you move your head while viewing.<\/p>

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I evaluated each screen material for laser speckle using the Valerion Pro 2 and Hisense PX3-Pro and found that by far the screen material that eliminates laser speckle the most is the woven acoustically transparent white screen from Silver Ticket, followed by the white spandex portable screen from Aurzen, and then the Cinewhite UHD-B screen from AKIA slash Elite Screens and the AKIA MaxWhite 2 Screen. After looking at the screen materials under a microscope it seems that the screens with the most surface texture were the best at eliminating speckle, and the screens that included reflective coatings like Black Diamond, Cinegray 5D, and the High Gain Vividstorm Fusion Lenticular screen also had significantly more laser speckle than screens without reflective coatings.<\/p>

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The ALR materials that had the least laser speckle for ultra-short throw projectors were the Nothing Projector Black Series 0.6 gain and the Formovie Fresnel screen. Comparing the Formovie Fresnel to the AWOL Fresnel you can see that the Formovie has less of the reflective coating and more of an orange peel texture. It appears that for lenticular screens the biggest predictor of laser speckle is the screen gain because under a microscope the AWOL lenticular screens look basically identical to the ones from Nothing Projector, but they have noticeably more laser speckle presumably due to their higher gain.<\/p>

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ALR Issues – Offset<\/h3>

The next reason you may want to choose one screen material over another has to do with the placement of your projector. As it relates to ultra-short throw projectors, by far the most common solution is to place the projector on a stand directly under the screen. But you can also ceiling mount a UST which then requires you to flip your ALR screen upside down, which does get you the correct projection angle, but also removes the screen\u2019s ability to reject ambient light coming from the ceiling. So, if that\u2019s your plan you\u2019ll also need to design your room to have more uplighting instead of downlights.<\/p>

When dealing with long throw projectors, it\u2019s much more common to want to ceiling mount them, but that can also lead to issues with some ALR screens. The most directional of all of the ALR materials is Fresnel and when projecting using the Valerion Pro 2 from a ceiling-mounted position, you can see a massive difference in brightness between when the screen is mounted right side up, and when flipped upside down.<\/p>

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In addition to a change in overall brightness, you can also see that the brightness uniformity is significantly worse when the screen is mounted right side up with a ceiling mounted projector. For a Fresnel screen to work properly, the projector really needs to be mounted in the bottom middle of the screen. Just like the UST screens, you can flip a long throw Fresnel upside down to accommodate a ceiling mount, but again, by doing that you eliminate the ability to reject light from the ceiling.<\/p>

With the lenticular ALR screens designed for standard throw projectors, the difference between a right side up and upside down mounted screen is not nearly as pronounced. While I do think there was ever so slightly more brightness uniformity when the screen was upside down, it\u2019s not as obvious and I think either screen orientation would work.<\/p>

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Angular reflective screens perform mostly the same in either orientation, but you can see that even the very expensive Black Diamond screen had pretty poor uniformity and was much brighter at the top of the screen when using a ceiling mount with the Valerion Pro 2. That\u2019s because for an angular reflective screen, you want the distance between the screen and the projector to be at least 1.5 times the width of the screen, or a 1.5:1 throw ratio, and in my measurements the maximum throw ratio of the Valerion is 1.47:1. But with an angular reflective ALR screen, the longer the throw ratio, the better your screen will look, so Black Diamond is more suitable for a traditional home theater projector like the JVC NZ8 which can go up to 2.75:1, or the Epson LS12000 which can go all the way to 2.84:1.<\/p>

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ALR Issues – Viewing Angle<\/h3>

Speaking of home theater projectors, in addition to a large amount of zoom, the Epson LS12000 also has + or \u2013 47% horizontal lens shift, so next I tested how the various ALR screens would respond to off center projection using both lens shift with the Epson LS12000, and digital keystone using the Hisense C2 Ultra.<\/p>

If you\u2019ve been paying attention, you can probably predict the outcome here, but angular reflective screens really don\u2019t do well with off center projection and end up with a large hotspot directly in line with the lens when using the Epson\u2019s 47% horizontal lens shift and an even bigger hotspot when using the digital keystone on the Hisense.<\/p>

Surprisingly, the Valerion Fresnel screen designed for long throw projectors has very decent uniformity with the Epson projector at maximum horizontal lens shift, with a small amount of hotspotting around the top left of the screen, which is interesting since the lens is actually aligned at the bottom left. The more extreme angle of the Hisense with digital keystone resulted in much worse performance from the Fresnel screen, and again, you can see that bright upper left corner, but the rest of the screen is significantly dimmer.<\/p>

The best off-axis ALR performance came from the long throw lenticular screen, which makes sense because it\u2019s mostly designed to block light coming from the ceiling rather than the sides. You can see that the Epson had a pretty uniform brightness with only a slightly dim corner in the upper right, while the Hisense faired quite a bit worse, with a very dim top right corner and a hotspot in the bottom left.<\/p>

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Comparing these results to a non ALR screen like the woven acoustically transparent screen from Silver Ticket, you can see all the ALR screens have significantly worse uniformity when projecting from anywhere other than the complete ideal location, which again, kind of makes sense when you consider the entire purpose of an ALR screen is to block light that comes from anywhere other than the projector.<\/p>

The second reason you might choose to not use an ALR screen is viewing angle, meaning how wide you expect your viewing area to be relative to your projector screen, and it\u2019s pretty much for all the same reasons we talked about for an offset projector. ALR screens work by directing light from a specific projector position to a specific viewing position, and if you change either of those things you end up with a worse result.<\/p>

Starting with ultra-short throw projectors, even though I have eight different UST specific screens, there are really just three different screen structures because the Fresnel screens from XGIMI, Nexigo, Spectra, and AWOL are all basically identical and are likely all produced by the F-Screen factory. You can see that from a 45 degree viewing angle, only the white non-ALR screen has a completely uniform brightness, the Lenticular screen has the next best uniformity, then the Formovie Fresnel screen which has some hotspotting, and the F-Screen Fresnels had the worst off axis viewing uniformity with hotspotting on the near side and a very dim area on the far side of the screen.\u00a0<\/p>

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For the long throw projectors, the results were very similar to what we saw with offset projection, where the white screen was by far the best with perfect brightness uniformity from a 45 degree viewing angle, followed by the lenticular screen that was very good except for some tensioning issues in the upper corners that we\u2019ll talk about later, the Fresnel screen had hotspotting on top left side and dim areas in the other three corners, and the Black Diamond screen had by far the worst uniformity when viewed off-axis with a massive dark spot in the upper right corner.<\/p>

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To recap as quickly as possible: Ambient Light Rejection is awesome, but it requires specific placement of your projector and your viewing area, and if your space won\u2019t allow for proper placement, you\u2019re probably better off with a non-ALR screen.<\/p>

Durability<\/h3>

Last, let\u2019s talk about durability, which is less about screen performance, and more about just living with the screens long term. The first consideration is the durability of the material itself. The most durable screens are gray and white non-ALR PVC screens which can deal with being occasionally touched and are able be wiped clean with a microfiber lens cleaning cloth and a mild dish soap solution if needed. At the opposite end of the spectrum, lenticular ultra-short throw screens are extremely delicate, and even mild pressure can flatten the 3D structure which will lead to an irregularity in the projected image. Even the slightest contact with anything with an edge will scratch and damage the screen beyond repair. The only safe ways to clean dust off of a lenticular ALR screen are with compressed air, or a clean, soft paint brush running in the same direction as the lenticular ridges, but you should never wipe them with a cloth or get them wet.<\/p>

Somewhere in the middle as far as durability are the ALR screens with a top coating like the long throw lenticular, long throw and UST Fresnel, and angular reflective screens, which are much more resistant to scratches, but are easily stained by oils from fingerprints, which you can imagine became an issue for me as I moved around the 19 screens for this video.\u00a0<\/p>

So far, I haven\u2019t had any issue wiping these screens clean with a microfiber lens cloth and water and patting them dry, but I did get some staining on both the Black Diamond screen and long throw lenticular screens when trying to use a mild dish soap mixture, so only use that as a last resort.<\/p>

Then there\u2019s the durability and construction of the frame material, which is also related to how easy it is to get the screen perfectly tensioned. I personally think the highest quality frames are the new ones from F-Screen which are used on the UST Fresnels from AWOL, Nexigo, Spectra, and XGIMI, and the standard throw Fresnel from Valerion. Those frames are extremely heavy duty and really easy to tension using their tension rod system. The Formovie Fresnel is lighter weight, but still very sturdy and also uses tension rods that make it simple to get the screen perfectly uniform with no wrinkles.\u00a0<\/p>

The lenticular screens from AWOL, Valerion, Vividstorm, and Nothing Projector and white screens from AKIA and Silver Ticket all use spring tensioning which in my opinion has more opportunity for variability and user error which will result in wrinkles and is also more prone to stretching and developing those wrinkles after installation, especially in the corners.<\/p>

The premium Screen Innovations Black Diamond screen has the most heavy-duty frame and uses rubber bands for tensioning, which you\u2019d think would be far less effective, but the screen material itself is much more rigid, so I\u2019m not really sure that it could wrinkle.<\/p>

After all this testing and research, I\u2019m sure you want me to just shut up and tell you which screen is best with each projector and honestly, I came to some pretty strange conclusions, so here we go.<\/p>

Conclusions and Recommendations<\/h3>

First, if you have a standard throw triple laser projector like the Valerion Pro 2, Hisense C1, Hisense C2 Ultra, or any of the JMGO N1 or N1S lineup, you\u2019re going to want a screen that reduces laser speckle. If you want to reduce that speckle all the way down to zero and maintain great maximum brightness, uniformity, and viewing angle, then the Silver Ticket Woven Acoustically Transparent material is king. Great news is that it\u2019s super reasonably priced and comes in a ton of different screen sizes all the way up to 162\u201d.<\/p>

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Here\u2019s where things get weird. If you want to reduce the laser speckle of your triple laser projector to almost zero while gaining the benefits of an ambient light rejecting screen, then I think the best screen material is a lenticular ALR screen made for ultra-short throw projectors. While I think standard throw lenticular screens could be a great product in the future, the current generation just doesn\u2019t seem to perform as well as it should and isn\u2019t available in as many form factors. Compared to the new standard throw lenticular screens, the UST versions have less hotspotting, less laser speckle, better uniformity, and are available in significantly more form factors.<\/p>

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The downside of using UST ALR with a standard throw projector is that the gain is pretty low, around 0.3, near eye level, so the screen won\u2019t appear as bright. But in a dimly lit room I found it extremely comfortable and enjoyable to watch.<\/p>

Also remember that you\u2019ll need to pay attention to the orientation of the screen, mounting it upside down for a ceiling mounted projector, but I also found that the upside down screen performed well and no matter which projector and screen combination I tried, I kept coming back to the UST ALR screen which had great sharpness, contrast, and colors.<\/p>

The other huge advantage is that it\u2019s already available in motorized dropdown, floor rising, and fixed frame form factors, and the issues that I mentioned earlier with those, like side curling and imperfect tensioning don\u2019t have nearly as large of an effect on a standard throw projector as they do with a UST.\u00a0<\/p>

If your long throw projector has a single laser or hybrid light source like the Epson LS12000 or Nexigo Trivision Ultra, then you don\u2019t have to worry about laser speckle. I thought that the best ALR performance hands down was from the Valerion long throw Fresnel screen, which had a measured gain of 0.55, 81% ambient light rejection from overhead sources, and by far the best brightness uniformity compared to the lenticular ALR screens. The only downside that I noticed was that when flipped upside down for a ceiling mounted projector, there seemed to be some loss of brightness since the focal point of the Fresnel structure was no longer lined up at eye level, but it was still far better than any of the other ALR screens. Even the viewing angle, which is typically a weakness of Fresnel screens, was more than acceptable, even at 45 degrees.<\/p>

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For ultra-short throw projectors with pure RGB laser sources like the Hisense PX3-Pro and AWOL LTV-3500 Pro, you\u2019ll want a screen that reduces laser speckle, and like the long throw projectors, Silver Ticket\u2019s Woven WAB material reduced the laser speckle to zero, but the texture of the screen was clearly visible with the steep projection angle of the USTs, and definitely caused image degradation. The next lowest amount of laser speckle was from the Cinewhite UHD-B material, which also has the benefit of nearly perfect screen uniformity and wide viewing angles.<\/p>

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If you\u2019re looking for an ALR material, the Formovie Fresnel screen is the best at reducing laser speckle to a moderately low amount while maintaining extremely high brightness and rejecting between 91% and 95% of ambient light depending on the source, and in all my testing and having personally used the Formovie Fresnel for the last two years it basically only has two weaknesses. First, it\u2019s only offered in 100\u201d fixed frame, which I know is a huge dealbreaker for some spaces, and second, in certain very bright scenes you can notice the circular Fresnel structure in the top corners of the screen. It\u2019s never been enough to bother me, but it\u2019s something to be aware of.<\/p>

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If you need a drop down or floor rising screen or one that comes in sizes over 100\u201d, then a low gain lenticular screen seems to be the best at reducing laser speckle. In this video that meant that the Nothing Projector 0.6 gain screen was my 2nd place pick for my Hisense PX3-Pro.<\/p>

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If your ultra short throw projector has an ALPD light source like the Nexigo Aurora Pro or Formovie Theater Premium, then you don\u2019t need to be as concerned about laser speckle. I thought that the Fresnel screens from Spectra, Nexigo, AWOL, and XGIMI, which are all essentially identical, had the best all-around performance with great build quality, huge amounts of ambient light rejection, and no visible Fresnel structure. They have the added benefit of coming in both 100\u201d and 120\u201d and often getting offered as a bundle with a projector purchase which can save you a lot of money. I\u2019m also hopeful that we\u2019ll see this screen in a floor rising version in 2025 since the manufacturer F-Screen had one in their CES booth.<\/p>

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This video was super long, and I did my best to cover as much as I could as succinctly as possible, but I felt like the video easily could have been twice as long and still not covered all the complexity of projector screens. So, if you\u2019ve got additional questions, feel free to ask them in the comments but be aware that I probably won\u2019t be able to answer whether or not a particular material is good if I haven\u2019t specifically tested it. And if you were hoping that I\u2019d answer the age old question of whether a UST is better than a standard throw projector, you\u2019re going to need to wait two more weeks for that video.\u00a0<\/p>

As always there are no sponsored reviews on this channel, but I do have links to all of the screens down below and as always, I appreciate when you use those links since as an Amazon Affiliate I do earn a small commission on the sale at no cost to you.\u00a0<\/p>

I\u2019d also like to thank all my patrons over at Patreon<\/a> for their continued support of my channel and if you\u2019re interested in supporting my channel, please check out the links below. If you enjoyed this video, please consider subscribing to my YouTube channel<\/a> and as always, thanks for watching The Hook Up.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Standard Throw Projection Screens<\/h4>

Laser Speckle Reduction – Silver Ticket WAB<\/p>