Home Cinema Projectors

Home Cinema projection of dimensions above 80’’ to 150’’, a few years ago was out of the question due to its cost; nowadays it is totally affordable.

Starting with the prices of 29’’ televisions, we can bring the innovative experience of Cinema in any desirable space with screens of much bigger dimensions than 100’’. Projectors are quite easily installed, they are delivered to you perfectly installed, having all geometrical and color settings and with an ultimately detailed presentation of their capabilities, so that you can immediately enjoy Cinema magic from the comfort of your personal space. It wouldn’t be an exaggeration to say that after a few projections you will find the image you used to enjoy in famous new cinema halls subordinate

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Modern projectors on the market are divided in different categories, depending on their type, quality and reproduction accuracy. No matter how complicated this categorization sounds, in fact it is quite simple.

Nowadays, type category includes two subcategories: analogue and digital. Each one has its own advantages and disadvantages, as we examine below.

Analogue projectors, which are the pioneers of big screen, reaching their development peak, they are called – as you probably know – Cathode Ray Tube Projectors (CRT projectors). They share the same technological philosophy as common televisions do. The difference is that they use 3 small “televisions”, each one for every primary color: red, green and blue.

These projectors are also divided in subcategories, depending only on the size of the cathode ray tube, and more specifically by measuring their diagonal. Thus, we have categories of 7,8,9 to even 12 inches. Don’t be impressed by small figures, since with crystal optical lenses we can achieve a delightful image of above 120’’..

On the other hand, digital projectors are the new generation, which of course has the bigger share of the market due to the combination of low prices and good performance. Digital projectors are also divided in subcategories depending on the type of technology they use. All categories are under constant research and development and at least once a year a new production model is introduced, sometimes with more and other times with minimum differences relating to the previous model. So, depending on the used technology, they are divided in LCD projectors, DLP projectors, LCoS projectors and the new technology SXRD projectors.

Quality is the main grading criteria according to which all projectors are characterized, whether they are analogue or digital. They differentiate and they are ranked according to their manufacture quality, the individual componentsthey use, as well as the type and manufacture company of their chipsets, optical lenses, multipliers etc.

If you find all the above odd or If you think they are of minor importance, you should better know that each projector manufacturer produces economical and expensive product series, which represent the use or not of their individual components. So, selecting a projector, discarding all the above mentioned information, could be proved expensive and of lower quality, relating to another – possibly cheaper – choice.

In the reproduction accuracy category, all projectors are ranked according to the difficult criteria of comparing the quality of the video they will be called to project and their actual performance. Here, this category’s rank is the most important one, because this is the final result we are all looking for:Bringing quality cinematic image in our own space.

If a 1.000 euros projector performs the same or even higher projection quality than a 10.000 euros one, do we need to ask which one to select and if we will feel fooled for paying a ten times higher price for the same or even worse final quality?

The most important feature is reproduction accuracy, regardless the projector’s category, its technological development, extras and any other additional components it may include. This reproduction accuracy should be our guide in selecting the right projector.

CRT Projectors: Advantages

Incomparable Contrast Ratio

CRT projectors perform almost ten times better contrast, relating to the best digital projectors on the market. Their measured contrast ratio in top implementations, many times exceeds 30.000:1 and there are cases where the range of the measurement devices is incapable of indicating the correct measurement result. With such a high contrast, we gain perfect black color and a more precise grey range, getting a result which is closer to the performance of an authentic movie film.

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Natural colors

Electronic error correction circuits check constantly the cathode ray tubes and automatically correct any divergences, ensuring balanced and longtime stability. A uniform variety of colors on the grey scale, guarantees the right scale of deep dark and bright white, as well as correct reproduction of the rest colors.

Some models are also available with extra color correction layers on their lenses, or with special lamp filters, which guarantee that the projection triangle of the primary color pallet will comply exactly with the CIE/EBU transmission standards.

High Resolutions

In a welter of professional cathode lamps, high clarity crystal optics and extremely fast electronic cards, which were developed basically for sophisticated industrial applications, CRT projectors, offer resolutions that exceed the standards of the upcoming 1920×1080 lines High Definition transmission, which is compared only to 35mm film viewing. The result of such a high resolution is a soft image, with indescribable details, without digital noise and grain or some other negative effects that pixels create. .

Automatic Convergence

The last and second to last generation machines include in their basic or extra equipment, an automatic convergence and geometry correction mechanism, which can make any source signal perfect quickly, using a small CCD camera with a combination of advanced electronic circuits in just a few minutes. .

Usability

Manufacture companies, since they noticed that homes are now their new market goal, they optimized their device’s usability in an amazing degree – especially the last generation CRTs – to attract beginning users. For example, every setting we make on a different source it applies only to this particular source, without affecting other sources, and when it is perfectly configured, it is saved automatically. Supplying this particular source signal to the projector, the machine understands automatically the source and rotates to the appropriate position. All configurations can also be locked in order to avoid careless mistakes or accidental deletions from third parties or children. .

Easy Installation

Despite its great size and weight, a projector can be placed in any desirable layout, whether it is on the ceiling, or under the living room table, or in front or behind the screen. There are many easy options, but still the installation has to be permanent.

Inputs variety

Any source we have at our disposal can be directly connected with a CRT projector: DVD, Video, Laser Disk, gaming consoles, cameras, satellite or terrestrial TV programs, even the new High Definition VHS.

Simple Design and Thousands of Careless Operating Hours.

CRT projectors are designed with amazing functionality for easy maintenance in case of any malfunction. Their technological structure is similar to PCs’, which means that there is a central board, on which all other boards are connected and electronically controlled.

Usually,there is an error board with indicator lights or an OSD menu, which records which card is malfunctioning,in order to spot the problem easily. Thus, in case of an error, we just replace that particular board by opening the external shell at the place where the projector is placed. Total removal and transfer to a service lab is needed in very rare cases.

The need to replace cathode lamps usually appears after 12.000 operation hours, so it is easy to understand that it would be very difficult to face the need of replacing them if we are using them basically for Home Theater projections.

Lamb replacement in other projector machines is a very expensive process (about 600€ per 1500 hours) while more than often users face a dead-end, due to total lack of lamps for models of just 2 or 3 years old.

As you may have concluded from the above, no one of the modern projectors can be compared to a last generation CRT projector that is correctly installed and parallelly projects in correct dimensions, depending on its lamps size.

Of course, sometime in the distant or near future, analogue projector’s technology will be exceeded from other stronger digital projectors, which will be full with super-capabilities. Still, today a CRT projector, projects the cinematic image we wish to have in our space, with unbelievable performance, using a technology at its crowning moment.

CRT Projectors: Disadvantages

Dimensions and Weight

The biggest problem of those machines is, definitely, their size, which makes it difficult to become a part of our daily routine, especially in spaces where all the family coexists. Their length most of the times exceeds one meter and their width exceeds 70 centimeters. As you can see it’s not something we can easily hide in small living rooms, especially if we are disturbed by its dynamic presence.

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Hiding solutions are studied and applied and many of them are found to be absolutely successful, like using an electrical lift within a plaster ceiling, surrounding the machine with a plaster shell, placing it within a special construction to be a living room table or, in cases of big spaces, placing it in an existing room behind the screen, so it is practically not in the same space.

Of course, all these solutions raise the cost, since we are obviously talking about custom-made constructions to fit in the customer’s needs. Weight doesn’t really bother the owner except for the case the projector is placed on a living room table and occasionally it needs to be moved.

Of course, for spaces that have been studied and provided only for Home Theater use, this problem does not exist, since the projector is the center of interest and it would be a shame not to gain our attention!

Aesthetic Presence

It is impossible for machines of this size not to create controversial opinions about their aesthetic presence. Especially older machines, which were manufactured in order to be placed in working areas, very hardly become a part of the whole in a modern house.

Still, last projector series have a very high designing line and, personally, I don’t think that their presence disturbs our aesthetics. Anyway, even if there is something disturbing about their presence, by selecting one of the many installation methods, it can be practically covered with a smart adjustment of your space.

Installation Difficulty

It is a fact that those projectors are difficultly installed, especially when they are placed on ceilings. For example, a 9 inches projector of 90 kilos, which along with its base exceeds 100 kilos, must be placed steadily on the ceiling.

Apart from machine, space and viewers security, placement accuracy is extremely important, because every millimeter away from the screen means a lot for achieving perfect center, the ability to use maximum brightness and its electronics’ security. Since there is no zoom ring on their lenses, the distance for complete filling of the view frame has to be precise.

Of course, things are much simpler in case of placing it on a table, since we have the opportunity to move it to every direction. Still, ceiling placement demands experienced hands and machines to achieve maximum security, in combination with the best possible image quality we are looking for.

First Configuration Difficulty

Machine installation, in combination with, at least, the first configuration should be done by experts, who have great experience in such installations. First configuration demands changing numerous parameters, in order to get the right result on our screen, such as mechanical convergence of cathode tubes, centering and rastering and image framesettings, astigmatism settings, color accuracy settings, image geometrical settings and sources setup in the projector.

It is a time-consuming process but, still, if it is done correctly the first time, firstly we will enjoy the projector’s maximum capabilities, and secondly, next periodical settings can be realized very easily only by the user. A wrong first configuration means that the projector will never perform according to its capabilities and that could even lead to irreparable damage of its cathode tubes.

Equipment

Development of audio and image reproduction means is so great that it is unacceptable to make any assumptions. Each device’s operation can be checked and set in order to justify every little cent we spent to purchase it.

Our company’s devices and tools are the elite of the international market. They are absolutely the best worldwide and human intervention is very limited, in order to achieve high accuracy and maximum capabilities of your devices.

There is no limitation regarding their purchase cost and with their constant upgrades we optimize the already perfect result they offer. We import projectors directly from abroad and we use every new configuration device with new advantages, in order to give you the best possible result for your space.

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The use of a geometric design generator for setting all modern formats 1.33 1.78 1.85 2.35 2.40 and any other custom we want, is a “weapon” that helps us to achieve a total resolution frame on our screen, without cut sides and distortions. We use the best generator worldwide, the VP401 by Sencore that gives any format, in any transmission system PAL, NTSC, HDTV and, actually, in any resolution and frequency refresh rate we select.

Especially for CRT projectors, with Actas II by famous Barco Company, we offer extraordinary,totally automated color balance, for every projector type of the company, as well as manual balances for the rest analogue projectors of other companies. It is the ultimate color analyzer that Branco uses in its lab for every machine before it leaves the factory.

This machine’s capabilities exceed by far the ones that even the most demanding user asks, since it achieves balance even in Stacked connected projectors for perfect color convergence and balance, configuring even 12×12 layout CRT Video Walls!!!!!!! Due to their prohibitively high purchase cost (more than 15.000 euros), only 8 such devices have left the factory of the Belgian Branco Company to be purchased worldwide. We are the only ones in Greece to own one of them.

With professional spectrograph and three-color analyzer of the famous Milori, combined with the amazingly accurate color balance program Colorfacts Professional Edition, we can achieve perfect color accuracy and stability in the entire grey scale. Also, we get the opportunity to measure the device’s color efficiency with the famous CIE triangle: maximum brightness performance, space real contrast ratio and white uniformity on the entire surface of the screen.

We will get in complete diagrams the Gamma curve, temperature of the entire grey scale and color balance of the three colors that form it.

Test Pattern DVDs are the best for every transmission system, such as the Disk Video Essentials, the Avia Pro and the Peter Finzel’s Test Disk.

Finally, by using the CRT Rejuvenator CR7000 by Sencore, we give a new breathe and colors to your analogue projector after hours of projection. CR7000 is an amazing machine, which apart from diagnosing lamp errors – which is definitely CRT projector’s more neuralgic part – determines electron transmission impedance in every individual lamp, which mound residuals and Incrustations during their transmission. This gives life and color back to your projection sheet, without having to replace them.

All configuration devices and machines we use, are annually checked and certified from manufacturer companies, in order to be always in perfect condition and comply with operation specifications.

Projector installation and support

Plasma/LCD and projector installation. Begin your pleasure journey properly!

Proper installation or placement of a projector or a Plasma screen could be “a piece of cake” for some people. Still, there is a thin line that separates “a piece of cake” from “a piece of junk”. This is what you should pay attention, to in order to preserve the glow of your new screen.

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Most of us consider the installation of a recent device as another chore we have to sustain, in order to begin our journey to enjoying image. Every ticking minute seems, deservedly, like a century. So, there are more of us who have our screwdrivers and drills in our hands,“armed and ready” to take on ourselvesthe installation of our recent acquisition, without letting anyone else touch it.

Despite our great eagerness and good will, mistakes happen and sometimes they are so serious that raises the need to call an expert technician. Of course, all that happens in front of our wife’s judgmental eyes. So, if you are quite a handyman, you have the appropriate tools, artistry and time, read the following and avoid the usual traps we see during our installations.

Plasma/LCD monitor installation

New flat monitors are finally affordable enough and got in our lives conquering a minimum surface of our living room. Their dimensions are amazing comparing to the thinnest CRT televisions and each model’s new generation tends to constantly increase its width and height, while presenting even smaller depth.

These new televisions brought new, innovative installation methods. The most important and common one is placing them on the wall. To hang such a screen on the wall, we need a wall mount which 99% of the times is not included in the product’s packaging. For this case, there are tens of different solutions and mounts on the market, nowadays. Cheap and expensive, some that hide behind the screen and others exhibited as if they were works of art. Still, which is the right one for your needs?

A wall mount with double brackets is the solution we recommend, which serves many different viewing solutions, in order to enjoy proper and relaxing projections. This mount allows the screen to move away from the wall, moving parallelly to it and in the same width direction, achieving inclinations by rotating left and right.

In this way it can be used for covering different spaces and optical angles, since it’s very common for the living room – where we usually watch television – to be a little to the left or right regarding its position with the screen, and not exactly in a straight line.

So, if rotating the screen – which can be rotated up to 90 degrees left or right –  gives us the opportunity to cover nearby shared spaces as well, as for example in modern living rooms which usually communicate with the kitchen or dining room, then this rotation should be considered as a “gift of God”. It is very important to notice that the distance we can increase between the screen and the wall creates in our field of vision a second focus point, so every time our eyes leave the TV, our eyes’ focus changes and visual strain is avoided.

In the same mount, but with a single bracket, moving the screen away from the wall is much limited and of course, it won’t be able to move totally parallelly and with the same direction towards the back wall. So, if this doesn’t create any problems in your space, since the screen will move left or right with smaller inclinations, this solution is also excellent.

We saved for last the mount for simple on-wall installation, which brings the screen close to the wall. There are mounts made of stainless steel or just painted iron, which gain just a few millimeters of depth and others which have capabilities of slight front-inclination, so that in case it’s placed in a high spot, there is the possibility to optimize viewing from a lower position (especially in waiting rooms where screens are placed high to facilitate multiple viewing).

For the installation of such a mount, we will start by measuring distances and viewing height. Such a process is impossible or extremely time-consuming to try it by yourselves; it would be better to have another person to help you through the whole process, while it would be more helpful to have a third person as well.

Firstly, we must find the height of best, effortless viewing and mark that spot as the screen’s center (attention, not the center of the base). This can be achieved by sitting at your favorite spot, as comfortably as you can, and note at what height your eyes focus effortlessly, without having to open them wider.

I will simply highlight that the center of the screen will vary for viewers of 1,90m height, or 1,75m height or even 1,60m height. Give special attention not to place the screen considering only the aesthetics of your space, because it will be extremely tiring to watch a show on a misplaced screen, even for short projections, because you will make your head or body to adjust at a strange position.

Placing a screen on a brick wall demands the use of chemical wall plugs, especially in case of using distance brackets; in case of placing on a cement wall we can use the famous iron-expansion wall brackets. Pay extra attention to proper and stable installation, since weight is usually big as the amount of money you spent for such a purchase, as well.

Before making the holes and while you mark their central spots, it is necessary to use a level so that installation is parallel to the space and avoid having to view projection of unwanted horizontal inclination in the future. Finally, during the placement of the screen on the mount, we should pay attention to install it properly, keeping equal distances from both its sides and remember to activate any existing safeties to ensure its protection from possible inclination or wrong displacement.

Projector installation

Projectors are much more demanding devices and need more time to dedicate not only for the first installation study but their installation itself as well. There are many installation methods. They can be placed on the ceiling, on a table, in a special room behind the screen and sometimes the can hide in discreet plasterboard constructions or on an electrical lift.

Still, all methods require support mounts and of course, different measurements. We will mention only the installation of digital projectors, because even a simple CRT projector installation is so long that would cover the content of a whole magazine issue!

Support mounts of digital ceiling projectors should comply with height settings (i.e. have some kind of extension brackets) towards every direction. Still, the most important issue is the capability of the mount to realize height settings so that to avoid placing the above side of the screen high at the ceiling or resort to Keystone corrections to solve the problems due to trapezoidal distortion.

If it’s difficult to notice the damaging consequences of trapezoidal distortion during a movie projection, by simple observing some geometrical Patterns or by a simple connection to a personal computer, we can see the difference in the resolution quality we get comparing to a projector that operates from the perfect position.

The mount must also rotate to all directions and actually, with such accuracy that gives us the opportunity to bring the projector’s dim light exactly in the screen frame. Don’t forget that, depending on the projection distance, a one millimeter shift on the machine could lead to many centimeters shift on the screen!

Ceiling mounts, which base their inclination on rotating on a sphere or ball, should be rejected for projectors of more than 4-5 kilos of weight. The reason is that after a few weeks, the plastic parts of the base slide on the metallic ones and destroy the centering you did.  Regarding heavier projectors, you should ensure that inclinations provided by the mount are easily changed with stability screws, which will guarantee zero shifts once they are tightened.

Apart from placing it on the ceiling, then next most common position is the one that almost everybody tries when we buy a new projector, while we don’t have the patience to implement a full installation. Put it on a table. Of course, in this case we don’t need any mounts. The projector’s installation screws are more than enough.

Placing the projector on a wall ledge or within a bookcase is not an indicative method, unless it will be used to project at low heights, as when it is placed on a table. The projector must be placed at a low position (50 to 70 centimeters) because the bottom limit of the projected signal will be almost in line with its lens. So, in case it is placed on a high shelf, it easy to understand that the bottom limit of the image will start at the same height opposite to the screen, which means it will be too high to watch.

Supporting a projector on the ceiling demands very accurate measurements for correct distance and height. Pay extra attention to place it exactly opposite to the center of the screen, according to lens’ center and not the center of the machine or its mount’s center. Also, pay extra attention during you measurements to place the center of the lens at the same height with the upper part of the screen’s white part and not according to the height of its box or its black bezel.

Since the ceilings you will be called to mount the projector are usually concrete, you should better use iron-expansion wall brackets. Once the mount is installed and you start to tight the projector on it, pay extra attention to the size of the screws that support it. They should have the appropriate length so that they will not penetrate the shell and end up within the machine, contacting electronic components.  Even worse, be careful not to break the plastic terminal passage on the projector shell, creating a serious enough and expensive damage on the machine.

After placing the projector on the ceiling, we connect all image and power supply cables, we turn it on and we configure its dim light by using a geometrical Pattern from the DVD player or an image generator. We start with focus and zoom, looking always on the projection screen.  Then set the image we get from the projector so that it is parallel and vertical towards each side of the screen and stabilize that position by securing the mount.

Projector/Plasma Lift – High… flights.

Using an electric Lift used to be a very sophisticated projector of flat Plasma screen installation solution, but now affordable and, at the same time, very beautiful. It’s not just the fact that the device is hidden and there is no aesthetic intervention of the space whatsoever, but also the fact that the devices are not exposed to harmful conditions for hours, such as smoke or excessive sun light. Don’t forget that digital projectors suffer very much from smoke and dust exposure. So, when there is no need to have them exposed in anarea, why don’t we keep them isolated in an environment of their own, saving ourselves from many maintenance troubles?

Regarding the solar radiation problem, you may have read – usually in the first pages of the user manual – that all electronic machines suffer from direct exposure to sun light. So, in case a projector or a television is exposed directly to sun light through a window, problems will occur sooner or later.

All these problems are easily solved by using a lift. In case of a projector, the device and the entire Lift mechanism lie within a plasterboard construction on the ceiling or in a custom-made living room table. In both cases, by pressing a button or by sending an infrared signal, the mechanism goes up and down, carrying along the projector and bringing it exactly at its configured position. Note here that in case you upgrade your projector in the future, with a more advanced one, of course, there is no need to change the Lift mechanism too. We adjust the new projector to the already existing lift by using simply different holes on its mount.

In case of using that mechanism on a Plasma or LCD screen, we usually hide its presence behind a piece of furniture or in a special plasterboard construction. In this way, the Plasma screen is available to common view in our space only when we want to watch a TV program, while the rest of the time lies discreetly hidden. Of course, the installation of such devices demandsexperience and special tools as well. Thus, help from a specialized technician team is absolutely necessary.

The aesthetic harmony that those beautiful mechanisms provide is your hidden ace to win easily the approval of the lady of the house, to purchase and install a Home Cinema projector. Actually, it would be one of the very few times that she’ll give her “signature” so willingly, since she will continue to see her desirable aesthetic harmony within all familiar shared spaces of the house. But you now know that the integration of such a device combines pleasure with efficiency, since your device will be, also, protected.

Basic System Configuration | Phase 1

The entire basic Set up of your system is configured here.

At first, we have to watch some reference film clips to extract secure conclusions about what exactly we gain from a particular setting. In case your device has memories, we save your old settings in one of them, so at the end, we will have the option to compare Before & After to see how many changes had to be done and where.

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We keep your previous settings and we also check the viewing device and all the other devices connected to it, such as DVD players, satellite receivers, video, preserving correct settings, which we will probably have to change during setup.

We start by correcting geometry, resolution and focus errors, by testing the system with special Patterns, trying to achieve your devices’ best performance. Then we correct the size of the view frame gaining the biggest possible frame, since there are many devices that affect its settings and remove viewing parts from each side.

We check brightness and contrast to achieve their best performance, still without affecting white gradations or parallelly making information parts in dark shots disappear. Regarding CRT devices, such as televisions, projectors or projecting televisions, we pay extra attention so that cathode lamps are not excessively operated, resulting in rapid wear.

This particular error is the most common, regarding such devices, it is exclusively the result of bad configuration, and requires a considerable amount of money to repair and it usually a big surprise for the owner.

Chromaticity and coloring check comes next, in order to perform according to our PAL standards and future High Definition standards. Proper color performance and color balance are the most important settings since they provide the opportunity to our screen to reproduce the correct color tone, bring closer to our eyes the director’s vision. We should note that correct color analogy is succeeded by checking and isolating each individual color and implement configurations with special filters, and not according to what we like better.

Finally, we check device accuracy, which usually is badly configured in all systems. We ensure quality viewing, eliminate noises from the final signal and boost crucially the clarity and brightness of the projection frame.

Before completing the basic setup we watch once again the reference movie films and point out differences and advantages comparing to the previous Setup. Usually, a Basic setup takes about one and half to two hours to complete, depending on the system difficulty.

During the whole configuration process, we inform you not only about the wrong or correct settings and possible aberrations we see, but also train you – if we could say that – to appreciate quality image and the meaning of every device configuration.

Our main job is to answer all your questions after the Setup completion, because it is our responsibility to let you know what you are supposed to evaluate in an image as customers and how to rate it easily and according to objective criteria.

Our knowledge and experience, which we will try to impart to you, will be your basic “weapon” in future market researches.

Welcome to the Revolutionary Home Theater.

Basic System Configuration | Phase 2

After completing phase 1, setup is continued.

After the Ultimate configuration phase, image will perform as closer to reality as possible, reproducing accurately the vision of the director. Having the basic transmission device components already evaluated and configured, our goal is to fix grey scale gradation to 6500 kelvin, which is the standard of reception and production in entertainment industry.

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Analyzing a grey scale from total black to clear white, at your device’s best transmission performance, we will manage to reset correct gradation and its complete depigmentation, by using our professional spectrograph or three-color analyzer.

By cleaning and gradating the grey scale, we actually release colors, which create a sense of weird chromaticity when they are included in the grey scale in bigger or smaller analogies, resulting todisbelief during a movie projection.

Shots where human skin is displayed, or clouds, or sea, move in specific and familiar color ranges. Thus, the human brain isolates very easily anything weird and makes us notice this malfunction, making you lose the entire movie plot.

During the configuration you will be able to watch in real time all corrections made not only on you device but on our P/C Monitor as well, which conducts the whole process automatically. At the same time, we will be explaining exactly what is being changed or configured on your image.

At the end, with all the data gathered (before and after configuration) we will prepare a beautiful Classer, which will be posted to you in the next days, containing all the changes and configurations, fully detailed and illustrated in diagrams. There will also be available all the new configuration values, so in case of loss or reset, you will be able to  enter them without any new setup. Also, according to our experience, we will indicate to you what to have in mind, such as the need to upgrade a device.

After completing the setup, your devices’ color capabilities will be totally released and they will perform the right colors of the movie scenes, just the way it wascaptured during filming. The image gains such an unexpected naturalism and realistic effect, that the pleasure of viewing creates the illusion of being on the movie set!

The projection frame is transformed into a virtual window to the world, and movies that probably never interested you, because of their genre, will attract your interest thanks to their natural projection.

Grey scale configuration is the most revealing one, despite the fact that it is the last to be done. It reminds us of the lost glory of cinematic image and brings all the naturalism and realistic effect before our eyes.

It’s the best gift you can make to your system in order to get the 101% of the money you spent on your devices, and strip-mine literally them. If you want to see your devices’ real limits and achieve their best performances – which is why they were designed and purchased for in the first place – plugging them to a power supply won’t get the job done.

There are no Plug & Play machines and not every system performs equally in every space, even with exactly the same Setup. Besides, there are so many device configurations that it’s easily implied!

At Projecting & Sounding ART we do not only have just knowledge and experience, nor do we use our training by the unique worldwide institution of professional image, the ISF, to realize the ultimate Setup for you space.

We also have very expensive professional tools, which comply with every type of device. Besides, it is known that configuration is not realized by using our eyes; even scientists of the cinema industry, with multiannual experience in the field don’t do such configurations.

Thus, with all this knowledge, experience, training, as well as, professional tools we are sure for the success of our goal. Which is to release Real Cinema, in your house.

Welcome to the Revolutionary Home Theater.

High Fidelity Color

The utopia we adore!

Color, even though it is everywhere around us, unfortunately it’s nothing but an illusion. No matter how weird that sounds, color does not exist; at least, not the way we conceive it with our eyes. Very simply, oranges are not orange and red Ferraris – sorry for the blasphemy – are not red.

No, I am not trying to convinceyou that I am crazy. I am trying to prepare you to realize (those of you who don’t know it already) that color exists only in our brain cells and nowhere else. Also, there are many people who see color with some small differences than the rest of us. We should also mention here that we all conceive color differently, especially every time its brightness or color highlights change.

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We may live in the illusions that our brain cells create, but, as all illusions do in this world, they fill our lives with huge enthusiasm and strong feelings. No matter where we lay our eyes on, from clothes on store windows to cars in the streets, our brain focuses on color analysis from the first sight. Our brain cells love color.

A blood red sports car, sparse white clouds in the blue sky, the rainbow or a green seaside… Definitely, some of those – if not all – cause your admiration and capture your eyes on them for quite a while.

Of course, color dimension goes further forward. How many times don’t we match colors with feelings? You must have heard that someone turned “red” with anger or “green” with envy. I just hope he didn’t turn “red” cause of you… so that you don’t turn “yellow” with fear!

So, with or without quotation marks, color is probably the greatest feature of our vision. And such a feature should match the natural colors of our everyday life, when it is created artificially.So, the goal is: high fidelity.

Introduction to a colorful tale

In order to understand exactly what color means, and later, how to achieve its vividness in imaging devices, let’s make a small general reference to its ancestor: light. The sun radiates an incredibly complicated combination of electromagnetic radiations, which travel across and fill the entire space we live in.

Their variety, especially regarding their wavelength, is outrageously rich. And keep in mind that we are not considering the rest of sources, such as natural or artificial, which are being transmitted thanks to human actions. For example, radio, television or cell phone radiation. Still, even other sources, beyond imagination, from our universe or even further away, offer great radiation forms to our world.

Many of those radiations, even though they are transmitted in a straight line, have the property of reflecting towards every direction once they fall on foreign bodies. Others go through them intact or lose just a part of them (p.ex. radio and television waves, X rays), or are fully absorbed, resulting in leaving their effect’s impression in the form of obvious changes on those bodies.

Isn’t it truly amazing that, despite the anarchic complex of chaotic electromagnetic radiation, exists such a discriminating system in our body, which separates out a small frequency spectrum and, after the appropriate process of our brain, forms what we call “image of natural world”?

So, we have seen that without the sun’s electromagnetic radiation, color does not exist, since no one can see in the dark and, of course, our vision would be useless. Sun light, whose final rendering of color is white, has been already analyzed in many colors by our brain’s illusion and has been recreated in a different shade of white. So, we understand that the wavelengths of this energy create in human vision the illusion of color existence, although they are not colored.

At the one end of our visible spectrum are the “near or small” wavelengths that our eyes see as shades of blue, while at the opposite end are the “high or big” wavelengths, which we perceive as shades of red. You may wonder where all other colors found around us in nature come from. They are in our visible spectrum and more specifically between blue color and red color.

Now, beyond our visible spectrum, and more specifically beyond short waves (blue), are Ultraviolet – UV- radiations. At the other side, meaning beyond high waves (red), are Infrared – IR – radiations, also known from Remote Controls.

But really, how do we finally see the color of any object? Simply, when we see for example a red car, we need to understand that from the entire visible electromagnetic frequency spectrum, this particular color leaves only high wavelengths (i.e. those who indicate red) reflect on the environment. All other colors included in the spectrum are retained and we only see the released ones.

The story of the great illusion

Now, if we analyze further the matter and bring in our minds some of the basic things we learned in school, we will remember that the sense of vision consists of a series of complicated actions and processes (don’t worry, we will not look into that right now…).It is activated by our eyes and reaches the central neural circuits of our brain. The image is sent from our eyes to our brain to be processed, which has huge response speed and thus, completes instantly the image decryption.

We estimate that by looking a landscape in a sunny day, which means there is too much information to process, our eyes send over 350 million signals per second to our brain. It should be highlighted that if we compare this to the total response of all the rest sense organs they hardly reach half the number of signal we mentioned. So, deservedly, vision is our most important sense.

Let’s talk a bit more about our vision sensors, our eyes. Let’s pay full attention to the study of those who are responsible for receiving light information. There are cones and rods, which even though do similar work, their numeric analogy is chaotic. Cones are about 3,000,000 while rods are 100,000,000 in each eye. The first ones, which are fewer, send light wavelength (i.e. color) to our brain through nervous stimulations, while the second ones, which are more, send its intensity.

Within the retina of our eye, and with greater density in its central parts, lie cones, which, as mentioned, are responsible for informing our brain about the wavelength of electromagnetic energy. Cones are now divided into three categories, those that are activated by bigger wavelengths (i.e. which is perceived as red), those that are activated bymedium wavelengths (green), and those that are activated by smaller wavelengths (i.e.which is perceived as blue).

How do they really work?

For instance, when we see a red colored object, it emits light of great wavelength towards our retina and thus, activates only the first type of cones, which then simulate our brain via nervous impulses, which are then perceived by us as… red color.

In another example, if we have an object of a light shade of green-blue color (turquoise if I’m not mistaken), then two types of cones are activated, those which are simulated with medium and small wavelengths and, of course, depending on their intensity, simulate our brain via nervous impulses, which are then also perceived by us as the color we see.

In all this color panic we will measure the wavelength of the 3 colors to understand how they are decoded by our vision system. Vision starts “translating” at small wavelengths (i.e. blue), as soon as we exceed ultraviolet wavelengths, and more specifically 380 nm. Its color peak reaches 450 nm. Then, green comes at about 500 nm and fades at 565 nm reaching its peak at 540 Nm.

On the other hand, red creates big problems. This happens because, unlike the other two colors, it has two peaks instead of one, resulting in its indissoluble relation with blue color, since its second peak lies within it! Red starts at 570 nm and ends at 700 nm, its peak is at 620 nm. Still, we notice that our eyes see red even between 400 nm to 500 nm, yet with low intensity.

Actually, this interference creates great confusion problems in perception of blue and red, which results in incapability of telling small differences when those two are combined. As we mentioned before, the analogy that separates cones and rods is amazingly disproportional. We realize that we have about 33 times more sensors for intensity than for color in our eyes!

What does that mean for our vision?

This is something you must have noticed, for sure… It is much easier to see an object at night, even with low brightness, but we need much more brightness to perceive its precise color. Using new technology terms and, at the same time, joking we would compare our black and white vision to a High Definition film, relating to our color perception where the film is recordedusing simple PAL!

Ηide-and-seek with colors.

Have you ever really wondered which color you perceive better, even in conditions close to total dark? Let’s see the following examples, which will probably awake some of your memories. Can you make out the magical sea blue at the beach, in the dark, with small moon? Not at all. All of us see only a wild blackness, and to tell the truth, just a few of us would dare to swim in those waters at night.

Still, isn’t it easier to see the dark red cardigan on your girlfriend’s arms? Aaaaah, things here are much better… Of course, we don’t perceive dark red the way we did earlier in the evening, during our walk. We see something closer to dark maroon or red, with some reservations of course. Still, it is easy to understand that red is the basic color.

Take a look at the grass next to the park…

Aaaah, sure… this color is very clear. Of course, it is not because green is perceived thanks to morning light, but because you cannot confuse it with any other color.

So, your memories led me just now to these two conclusions:

1st conclusion: we are not equally sensitive to each color analysis. We see and perceive much better green, then red and I would say barely blue.

2nd conclusion: we can always make out a fan of Panathinaikos coming in the dark!

Visible insensitivity.

So we are sensitive regarding the difference between colors but, more specifically, how sensitive are we regarding televisions and home projectors? Can we tell easily the differences that make an image good or bad? Is our eye a good judge? I would say that it is an excellent FINAL judge, but I would also characterize it as insensitive and lazy, according to its capabilities.

And also because, even though we can see the differences that need to be corrected, we usually don’t know exactly what the problem is and how to fix it. Another bad characteristic, which completes the above mentioned weakness, is that our brain gets easily used to things, even to “bad”, abnormal image. The truth is that with 103,000,000 sensors (the number is characteristic) we should be able to easily decide if an image is good, medium or bad. Still, actual, objective judgement is achieved only when we have two devices with the same theme.

Let’s see how and why we can’t find errors easily.

Light brightness, despite the fact that changes every second in every color, does not affect us in some specific analogy, since our eyes know how to handle it perfectly, with their pupils’ expansion or contraction. To become clearer, between total dark, which we can get from our television for example, and absolute possible brightness, exist many gradations, as you already know.

Most people perceive stages of 4% to 6% from those devices. A little higher than that, 8% to 12%, an average person perceives color difference in a white or grey image, without being able to identify where it comes from, especially considering errors of blue, which, as we mentioned, is the most difficult color for our vision. If we consider the existence of red color in blue color gradations, we can understand that even if we see errors, especially as they get bigger, practically it is impossible to understand who is responsible.

You may ask: is this error margin big or small?

I would say that it is very big; and the difference is shown when the image with the right proportions is directly compared to the one with the wrong ones. Our eyes may not be able to give specific instructions to optimize an image, still they remain the final judge.

Closing High Fidelity Color, since I would rather not be accused of demeaning and racist comments about your eyes, I would like you to allow me rephrase in a more elegant way the word “insensitively”. So, in order to be more politically correct, I would say that “we are able to watch better… whenever we want to”. I am sure that you must have heard before, in some women conversation, that especially men have their eyes wide open, whenever something catches their eyes! In such cases, color sharpness and accuracy are usually above 101%…

Image Settings

Device settings are the ones to point out its advantages or exterminate its problems. Surely, you haveprobably noticed in stores of the field, amazing televisions or projectors performing worse than expected, unlike other devices, which are not so known but still perform amazingly. Also, it’s possible that you may have noticed that a salesman tends to lead you to a specific device. It is more likely that this device performs much better than the others. Be careful though… the things we write here are impressive but not correct. Actually, this is the main difference of properly configured image.

Learn more

Performance differences between devices of same technology and characteristics happen not because of their models’ quality but because of the many different and, most of the times, wrongly implemented settings.

Factory settings may help companies to sale their new products. Still, their performance has absolutely nothing to do with the image we enjoy in cinemas. Because there, film is created by using the electrochemical method, which allows to implement all settings during its production. Still, some projection means, which try to imitate film’s quality, include in their image setup some settings like Brightness, Contrast, Chromaticity, Gradation, Sharpness and other, even more advanced.

You have possibly noticed that each movie is performed in a different way. One movie has dark shots, another’s white shots are too intense and another one’s colors are more vivid. This makes you change your settings according to each individual movie, until you reach maximum viewing pleasure.

Really, did you ever wonder why manufactures include those settings in their devices? And why are there more and more settings as we dealwith higher and more expensive categories?

We will answer that with an equally simple question: what’s the reason of having available settings if televisions and projectors were perfectly configured from the factory? Are they the company’s gift or an accessory?

Designers and manufacturers of imaging devices know very well that there is no device that can imitate Cinema image in such a degree, that the human brain will not tell the difference, and for that they add many settings to their machines, giving the opportunity to an experienced and specialized technician, with the help of professional tools of course, to optimize imaging as much as possible to remind the original one…

Manufacturers setup their original device in an ideally conditioned space, copy those settings in all production projectors, and like this, thousands of devices are distributed, configured for that particular space BUT not for each of our individual ones.

Our own space has different chromaticity, reflections and mirrorings inside the screen and different brightness, which should be eliminated in order to achieve correct image performance.

So, we will have to run again the setup of the manufacture company, but with our means (p.ex. DVD players, screen, cables etc) and, most importantly, in our own space.

So, you may wonder whichis the correct image.

Which is the one to match with all movie types?

Which will be the one to perform bright and dark shots according to the right gradation scale and with correct color saturation?

Which will be the one to bring out every detail of the movie that hides deeply in white, black and other colors?

Which is the setting that, by keeping it same for every movie will continue to achieve maximum possible quality and cinematic feeling?

The only way to reveal the realistic effect of cinematic image on our screen is to configure it according to the strict standards that professional Studios use.

This kind of configuration is now available in Greece, provided by our company, which is the only certified company according to the ISF standards and uses totally approved configuration tools.

Which is the perfect image?

Sometimes devices with same technology and features havedifferent performances. This is the result of different and, most of the times, wrong settings, and not because of different quality between models. Manufacture companies of projectors, televisions, Plasma and LCD, setup their models in such ways to make them more attractive to possible buyers, already knowing that they will be put side by side with other models on the market.

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At Cinema, where the film is created by using the electrochemical method, all settings have been made during its production. Still, some projection means, which try to imitate film’s quality, include in their image setup some settings like Brightness, Contrast, Chromaticity, Gradation, Sharpness and other, even more advanced.

You may have noticed that by changing the values of those settings, even just a little, the whole image changes: it may get more intense, or brighter, or sharper. Actually, it’s quite possible to see that some settings are already configured at their maximum value, such as contrast, which, of course, gives a much brighter, yet unnatural, image. Not to mention the great wear that causes to your device, reducing rapidly the operation hours given by the manufacturer!

You have possibly noticed that each movie is performed in a different way. One movie has dark shots, another’s white shots are too intense and another one’s colors are more vivid. This makes you change your settings according to each individual movie, until you reach maximum viewing pleasure.

Really, did you ever wonder why manufactures include those settings in their devices? And why are there more and more settings as we deal with higher and more expensive categories?

We will answer that with an equally simple question: what’s the reason of having available settings if televisions and projectors were perfectly configured from the factory? Are they the company’s gift or an accessory?

The truth is that designers and manufacturers of imaging devices know very well that there is no device that can imitate Cinema image in such a degree, that the human brain will not tell the difference, and for that they add many settings to their machines, giving the opportunity to an experienced and specialized technician, with the help of professional tools of course, to optimize imaging as much as possible to remind the original one…

Manufacturers set up their original device in an ideally conditioned space, where they achieve the astronomic values of Contrast Ratio, then Copy-Paste those values on the Firmware of their production projectors, and like this, thousands of devices are distributed, configured for that particular space BUT not for each of our individual ones.

So here, settings play the most important role for configuring the final result, since, apart from the numerous devices that we can use along with the same projector for instance, we also have to adjust and color the space, where reflections and mirrorings inside the screen should be eliminated, in order to achieve correct cinematic image.

So, we will have to run again the setup of the manufacture company, but with our means (p.ex. DVD players, screen, cables etc) and, most importantly, in our own space.

So, you may wonder which the correct image is.

Which is the one to match with all movie types?

Which will be the one to perform bright and dark shots according to the right gradation scale and with correct color saturation?

Which will be the one to bring out every detail of the movie that hides deeply in white, black and other colors?

Which is the setting that, by keeping it same for every movie will continue to achieve maximum possible quality and cinematic feeling?

The only way to reveal the realistic effect of cinematic image on our screen is to configure it according to the strict standards that professional Studios use.

This kind of configuration is now available in Greece, provided by our company, which is the only certified company according to the ISF standards and uses totally approved configuration tools.

Our configuration services, regarding any television device (CRT televisions, Plasma, LCD, RPTV and CRT or Digital projectors), are divided in two stages:

Stage 1 – Revolutionary Theater, Advanced.

Stage 2 – Revolutionary Theater, Ultimate.

We should note that all professional image configurations are implemented exclusively by Mr. Evaggelos Lamprou, a professional, whose name is intrinsically connected with the glamour and elegance of Home Theater in Greece.

Welcome to the Revolutionary Home Theater.

Still, an amazing image has nothing to do with the real one. Intense red color or strong white colors are not very common in our everyday life. How is it possible to notice such colors in every scene of the movie?

For all those differences, good and bad ones, responsible is only one: the Remote control.

This amazing invention, thanks to which we don’t have to leave the comfort of our couch, created parallelly unbelievable problems, from the moment brightness, contrast, chromaticity and sharpness settings were included in its functions. Because it gave to a common user the opportunity to change those simple settings, which can even destroy the device if the user doesn’t have the necessary knowledge.

Our company offers high quality configuration services in Greece, which is the reason why it was founded and became famous for. Still, our fame is not a lucky result.

Home Theater Construction

The big time has come!

Perfect! You made the decision to bring your neighboring cinema hall in your home living room, you spent many hours visiting some of the best companies of the field, you compared devices, performances, prices and you told yourself that “the time has finally come”, or that “patience has its limits”, or even “now or never”. You most certainly remembered other inspirationaldetermination sayings, once your heartless consciousness filled your brain cells with rolling alarms, which notice you for the following financial drain.

Still, the decision has been made: Home Cinema. TODAY.

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So, welcome to our world and the huge party of Home Theater fans. I should inform you though that it took you quite a long to join us. You will meet many cinema fans,who are starting to meddle with the Home Theater field, and have already reproduced in our country, image and sound of much higher quality than those of Cinema Halls.

On the other side, your delay to join us was good for you. You, now, have available all of our established experience to use it whenever you want to. So, we welcome you to the quality home theater, which is our only goal and we wish many years of qualitative entertainment.

If you have assigned your “introduction to the world of 7th Art” to a company which specializes in Home Theaters and treats them like work of arts like us, just take a calendar in your hands and start to erase days and hours, until the moment you get to admire your project completed.

If you are a fanatic Do It Your Self-er, sit comfortably on your PC chair because you will need to read a lot of staff starting from today. Important issues, instructions and detail that you will have to remember later on, during the construction of your Home Theater, so that you can finally enjoy a great audiovisual result.

Still, whether you are a DIY or not, you should read and try to understand Home Theater general principles, so that you know what to do and what to avoid when you want to design your own Home Theater.

Start with memories

Try to remember the inner decoration of the cinema hall you visited last time. Good….

Now, try to remember the decoration of other cinemas….

We are sure that you have never seen a white painted cinema (as if it is a hospital), or with white or, at least, cream wallpapers. On the contrary, you must have noticed for sure that even carpets and seats have dark colors. Also, there is no way you have ever seen windows, mirrors, glass or glossy surfaces in any cinema hall.

If you are wondering if it is a coincidence or there is a specific reason why all cinema hall owners imitate a specific pattern with small differences, then you should bet on the second one. The corner stone of the entire cinema projection “structure” is Darkness. And it is well established that cinema halls cannot operate in bright environment. Very simply, only the projector should project and manage lightwithin a cinema hall. This will never change, no matter how many new digital – or not – projectors are presented.

While creating our personal home theater, we tried to imitate the big king, the real Cinema. For example, don’t let projectors with high features of brightness performance affect your judgment, by making you believe that you will achieve quality brightness in you space. Even though the capability of bright projection is really helpful, there is a limit, away from which viewing can be not only tiring but also creates a bright shadow, a veil over the screen.

Cinema industry, because of the very strict SMPTE, specifies that from 12 ft/2lb (41,16 Nits) of brightness until the peak of 18 ft3/lb (61,74 Nits) we get a super-satisfying light emission to project any kind of cinema movie. If those ft2/lb are not bright enough for your space, don’t blame your projector, because space is the one who needs your help.

So, since you do not have a dedicated home theater, when you try to project a movie at home, you should at least pay extra attention to some basic “keys” that will make good use of the money you invested to purchase the projector and its accessories. The most important “key” to enjoy and utilize your system, is to rearrange your space.

We very often see that after making a few arrangements in the space we want to install a Home Theater and after configuring a low category projector we have a different result. Cinematic feelings and projection vividness are better even relating to more expensive, badly configured systems, with no space interventions whatsoever. You should start properly: firstly, find the best position to place the projector and the screen.

Selecting a screen

The beginning of a successful installation is to find the ideal position and the system’s exact direction towards space. You should note that we are about to refer only to Front projecting implementations, whether the projector is placed on a table or on the ceiling. Systems that are chosen to have their projector in a special space behind the screen (Rear Projecting), demand excessive knowledge in installing and in selecting the right light-permeable screen, which is very hard to describe and analyze on a webpage.

Selecting the direction towards which the projector and the screen will be placed depends on three factors:

Firstly: environmental brightness.

Secondly: proper sound coverage.

Thirdly: aesthetic intervention.

Environmental brightness includes all sources, natural and artificial ones, that emit light in our space. We should take under serious consideration and evaluation all the sources we cannot affect (as for example a powerful lamp from a street light) before thinking a home theater installation.

The ultimate wrong position is to place the screen in opposite direction towards the light we cannot control. A light source, even if it has limited power, will affect your viewing by creating a light veil on the screen in case of dark scenes and in extreme cases a washed color effect on the screen (for example, when you point the lens’s dim light directly on the screen).

Keeping light sources on the right or left of the screen will not make the final result better, since brightness will affect the sides of the screen, creating again the above mentioned problems.

So, as you may have understood, the best solution is then one left. Place the back of the screen in front of the external light source. In such a case you should pay extra attention so that the fabric at the back side of the screen is covered with black color and thus, it isn’t light-permeable.

In case we have light coming from more than one sides of the room, for instance in a room with windows on its two or threesides, place your screen opposite to the window that face West (the back of the screen should face West). In this way you will be able to use your projector for many hours, starting early in the evening and facing less unwanted results.

Even though we managed to “save” the screen from direct light exposure, this doesn’t mean that all weak reflections we get due to brightness diffusion of external light have been expelled. How to protect from those reflections is a matter we will analyze later.

The Second Factor, correct audio coverage of space, sometimes predetermines a system’s placement, since we shouldn’t forget that sound is the other half of complete Home Theater.

It is normal to loosen a little your aesthetic requirements in cases of small dimensioned spaces, where loudspeakers must be installed once, in order to strike a balance.

In order to install your devices and loudspeakers in your space, achieve angles, distances and direction towards viewers, you will find installation requirements and information of each system (DD, THX) in our website, at the corresponding webpage about multichannel sound.

Multichannel audio magic can reach full performance of its capabilities when loudspeakers are placed accurately, regarding the requirements of the audio system to be decoded, as well as the special conditions those systems need to perform, (for example, electrodynamic, electrostatic, magnetostatic loudspeakers, horns etc.)

As you understand, the installation gets very complicated, since just the loudspeaker’s factors combination is too big to achieve a successful result; without considering image requirements in the given space… We should note though. that a good Home Theater system stands out always for the balance between image and sound performances.

For instance, we shouldn’t select a space and install our devices according to our system’s best audio behavior and leave the equivalent image part to be displayed poorly just because there wasn’t enough space or the available space was utterly wrong. And vice versa, of course.

Every system, no matter how cheap or expensive it is, has to ensure its minimum proper operation specifications by his owner or installer, to point out its advantages. So do it properly.

The Last Factor, aesthetic intervention, is something that you will have to specify yourselves, setting, from the beginning, the specifications of the maximum adjustments you are determined to implement. Where and how to place the projector, the screen and the rest A-V systems (which cover big enough surfaces) is something you should plan in every detail before starting the installation process. In this way, you will avoid unpleasant surprises, such as to discover that the machines, their size or color just don’t fit or don’t match aesthetically with your space.

Since your wife always interferes in such decisions, you should better inform her from the beginning to give her some time to get used to the idea of the adjustments you are thinking to implement. We should warn you though that visible cables, screens and hanging projectors are some of the worse thoughts to share with your wife. Don’t be surprised to see that all this installation process will seem to her like a war zone. If you are determined and convinced to go on with the process, get armed with patience and smartness.

When things get ugly, remember camouflage, which is definitely recommended and includes electrical channels, plasterboards, even electric lifts, which protect your investment for smoke, dust and sun light and also allow your wife to keep her smile, since no one will understand your wisecracks.

Eliminate brightness

So, you made sure that your screen does not reflect light. Yet, you didn’t stop light from entering your space. Achieving no direct contact with your screen is a big step. Yet, this step needs to be completed with total light-isolation of your space.

The word “light-isolation” may sound extreme. But, since the main problems we run into during projections are results of unwanted light, you will see that once we eliminate problems one by one, image quality increases rapidly. Still, apart from high reproduction accuracy, which is very important for our work, obviously, at some point you will want to watch a movie or another TV program at noon, in the evening or even in the morning, and generally any time, without having to wait for the night to come, in order to enjoy your investment. This can be realized by implementing just a few adjustments in your space.

Perform the experiment we perform ourselves in our customers’ premises. During morning or noon hours, close all window shutters and curtains and close all internal doors. And of course turn off all the lights. Wait two minutes to let your eyes’ pupils dilate.

If after two minutes, you can’t see anything around you, your space is perfectly isolated from external sources of light. Still, if you are able to see clearly around you, then you have a problem that requires a solution. If you have just a little light coming in your space, don’t try to categorize its black-out, because, as you can see below, you can very easily eliminate it. Anything else but total darkness will destroy the feature you payed so much money for in a projector: its contrast ratio.

Continuing the experiment, observe very carefully where this unwanted light comes from. It usually comes from openings on windows or doors. Make sure that it really comes from those openings with the following method: place blankets on the windows and pillows at the openings below the doors. In this way you must have figured out the reason for your problems.

You can give a very easy solution. Concerning the light coming from the windows, you can place behind your curtains a darkening blind, also known as “blackout”. Actually, the “blackout” solution is widely known abroad, since in many cities, houses use curtains for black-out and not window shutters. With this blind, which hides discreetly behind curtains or curtain rails and covers minimum space, they block unwanted sun rays or light coming from a street lamp. You can find darkening blinds in furniture stores, available in many different sizes to fit it on your window.

You will place it on your curtain rail behind your curtain, so that it is completely invisible when it is folded, and you will open it only during projection. They are easy to use by pulling them down, just like sun rollers on buses or manual projection screens, while with some extra accessories they turn into electric ones, or even move via infrareds.

For light coming from below your doors, without making any market research, you can find at hardware stores the famous Stop sticker, whose main use is to block air actually, but it covers our current needs perfectly. Those stickers are available in many colors to find the one that best fits the color of your door frames.

Our mission has been accomplished. We managed to block external light. Still, we left space reflections created by projection. It’s time to take care of those as well.

Reflections. The sneaky enemy of projection.

So, you managed to block light from your mini home theater. Perfect. Still, what about reflections? What are those reflections and what exactly do I mean? Glasses and crystals, mirrors and paintings, even glossy or just very light wall colors, contribute greatly in creating a disheartening image!

Discover the disadvantages of your space in a very simple way. Project a white signal on the screen and look mainly ahead, but around you as well. Search for the following: walls that are very bright, windowsthat shine, maybe a glass table or your showcase’s glasses that mirror in your living room. It is very easy to detect your screen’s mirroring through the mirror hanging on the side wall.

All this environmental light, created by your projector, returns back to the screen and, of course, affects the movie you are watching. What does this mean?

Very simply, by using glasses, crystals and mirrors, you destroy your space contrast ratio, since light reflects when it touches surfaces resulting to more light, and also creates a second viewing area where the movie is displayed, distracting you from the movie plot.

In cases of very light painted walls or, even worse, painted with glossy paints, all reflections, apart from distracting us from viewing, go back to the screen carrying parts of their chromaticity. Thus, shots fill with external color, destroying the director’s photography, and also are projected with higher brightness, performing more vivid colors with a veil effect.

In this case, I think solutions are easily implied.