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Rear-projection screens

 

Rear-projections on a big RNO - Notturno screen. Teatro alla Scala, ''Quartett''
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This scenography used two rectangular backdrops realized with the film for rear-projections RAR - Arizona and a third triangular backdrop realized with the same material, to which had been overlapped three backdrops of analogous shapes and size made of grey BGO - Gobelin. Teatro Español, ''Electra''
Rear-projection on a Rear-projection screen realized with the film RAR - Arizona. The rear-projection is filtered through a backdrop made of black BGO - Gobelin. Teatro Verdi, ''The Corsair''
Rear-projection on a Rear-projection screen realized with the film RAR - Arizona. The rear-projection is filtered through a backdrop made of black BGO - Gobelin. Teatro Verdi, ''The Corsair''
Three small Rear-projection screens realized with RAR - Arizona film. Teatro La Fenice, ''I quatro rusteghi''
Three Rear-projection screens made of the film RNV - Nevada. Vancouver Opera, ''Stickboy''
A big Rear-projection screen realized with the film RNV - Nevada, the width is 60 m and the height is 15 m in its center. Rear-projection screen Rimini
A big Rear-projection screen realized with the film RNV - Nevada, the width is 60 m and the height is 15 m in its center. Rear-projection screen Rimini
Gain
Gain is the reflection index of a screen.
It indicates the ratio between the light reflected from the screen and that reflected by a standard white surface used as a reference parameter:
a screen with 1.0 gain will reflect the same amount of light, while a screen with 1.5 gain will reflect 50% more light, and a screen with a 0.8 index will reflect 80% of the light.

The gain is measured in the point where the screen is at its brightest, that is watching it from a frontal and perpendicular position.
Moving to the side and watching the screen from an angled position, the brightness of the projection decreases.

''Is high screen gain good?
It is easy, and wrong, to jump to the conclusion that a high gain screen must be preferable to a low gain screen.
''

First of all, there is a compromise between gain and viewing angle.
In high-gain screens, the brightness of the projection decreases considerably with the increase of the viewing angle, while in low-gain screens the brightness varies much less perceptibly.

Furthermore, a high-gain screen does not generally reflect evenly red, green and blue and the anomaly varies with the viewing angle.

Lastly, screens with a gain higher than 1.0 have a certain degree of hotspotting which is accentuated with the increase of the gain.
Than means, that looking the screen from a frontal position, the central part of the image appears brighter than in the peripheral areas.
This is not very visible up to a gain of 1.3, but, beyond that limit, hotspotting can seriously disturb vision.

''[ ... ] the videophile looking for the optimum image quality [ ... ] will usually want to opt for a low gain screen.''

Source: Evan Powell, in ProjectorCentral.com
Visual cone
its width avoids the loss of the quality of the image when the screen is watched from an angled position

Welding
the rear-projection crosses the screen, therefore accurate Weldings without superposition are needed to not spoil the projection
Custom execution
with any shape and without dimensional limits
Ignifugation
flameproof European Norm EN 13501.1


Video & Documentation

Vetta TV, small rear-projection screen

See also ...

Auditorio Ministerio Rel. Exteriores

Curtains for multi-purpose settings

Rear-projection screen

Commercial installations

Teatro alla Scala, ''Quartett''

Lyric opera

Teatro La Fenice, ''Rustic Chivalry''

Lyric opera

Teatro Real, ''Las golondrinas''

Operetta, zarzuela, musical

Teatro Real, ''O corvo branco''

Lyric opera

Teatro San Carlo, ''Tristan und Isolde''

Lyric opera

Vancouver Opera, ''Stickboy''

Lyric opera