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Screen Transparent Screen PRO v2.2
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If the Silver Ticket STR Series is sold out, the Elite Screens SableFrame 2 fixed-frame screen is a decent runner-up. It costs a bit more and is harder to assemble than our main pick, but the performance is comparable. The Sabe Frame 2 is available in the standard 16:9 shape in sizes from 100 to 200 inches.
Regardless of how much you spend, know that screen technology is not some fast-moving tech sector like smartphones or tablets. The screen you buy today will likely last through multiple projectors before needing replacement. For example, Stewart has made the StudioTek 130 for more than a decade with various incremental upgrades. Many professional reviewers have used the StudioTek 130 since the age of CRT projectors, and it still holds up today.
Unlike TVs, projectors are actually one part of a multipart system. The screen, room, and projector all play a role in the final image you see. A projector can be perfectly accurate (more on this below), but the image can still look wrong because of how the screen is affecting it. The main factors we considered when testing a projection screen were: gain, color accuracy, viewing angle, and texture.
Gain is a measurement of how much light the screen reflects. A gain of 1.0 means it reflects the same amount of light as an industry standard white magnesium-oxide board. Screens can reflect less light and have a gain of less than 1.0, or more light and have a gain higher than 1.0. A lower gain will produce deeper, darker blacks but reduce overall image brightness. In the early days of digital projection, this was useful because projectors had terrible (read: grayish) blacks. But that is less of an issue now with most decent projectors.
A higher gain, made possible by special screen materials, reflects more light back toward the center of the room. This creates a brighter image, but it also reduces viewing angles and can introduce hot spots (areas of the image that are noticeably brighter than other areas). It used to be that a higher gain was necessary, but as projectors have gotten more powerful, today a gain of 1.0 is often sufficient.
Next, my research turned to the main AVSForum and other resources. Here the screen conversations range from the top-of-the-line Stewart to a DIY option for $3 from Home Depot. There are also many small Internet Direct companies that would otherwise go unnoticed without discussions at AVS and other locations.
We also pored over reviews from Amazon, making sure to carefully read what people actually complained about. I also talked to other reviewers and calibrators to find out what they might have used and seen in their work that impressed them, even if they had not formally reviewed that particular screen.
The Stewart and Screen Innovations screens are much more expensive models that are often sold only through custom AV retailers, but we still included them in our tests as references for comparison. Stewart is the best-selling screen brand for custom home theaters, and the StudioTek 130 is the company's best-selling material. It is the reference standard for a home theater screen and the one most reviewers are likely to recommend if you ask for a single suggestion; I use it when testing projectors. In our tests of screens, we wanted to make sure to pit everything against this reference to see how well they performed.
To test the contenders, every screen was assembled and tested in my home theater room. I used an Epson 5020UBe projector combined with a Lumagen Radiance 2021 video processor to make the projected image as close to reference accurate as possible. Using a spectrometer and a colorimeter along with Portrait Displays Calman color calibration software, I measured the images off the lens, then off the screen, to see how much of a color shift each screen introduced, and to calculate the gain. A variety of content was viewed on each screen to look for sparkles, hot spots, texture, or other issues.
At its current price of about $200 for a 100-inch 16:9 screen with white material, the Silver Ticket is the cheapest overall option tested for a prebuilt screen, but it performs as well as options that cost up to seven times as much. Moving up to a 120-inch model adds $50, and there are many other sizes available from 92 inches up to 200 inches. It is also available in 2.35:1 aspect ratios for people who want the CinemaScope experience at home.
The image on the Silver Ticket is very good for not only its relatively cheap price, but also any price, period. With content through the Epson, the screen does a very good job of showing the detail and texture in a 1080p image. The material itself has neither sparkles nor hot spots during viewing, and it has a very wide viewing angle. It does introduce a bit of blue tint to the image, but less than other screens do. To most people it will not be visible. It maintains the contrast ratio of the Epson projector and looks much better than any cheaper material. The Stewart screens are the only ones made of materials that offer a clear step up from the Silver Ticket line, but they also cost seven to 12 times as much.
In real world use, the Silver Ticket just looks good. While watching Skyfall or Harry Potter or Star Trek on it, I never felt that I was missing anything from the picture. The images consistently appear sharp and show the texture of a suit or the wrinkles in skin. Even while sitting at the edge of the screen, I was still able to see a very good picture void of any additional color shift. The Silver Ticket screen produces an impressive image, and I'd be happy to recommend it to friends and family.
Assembling the Silver Ticket is also an easy task. The top and bottom rails are in two pieces to make shipping easier, and putting them together is not hard. It took me 30 minutes total to assemble the screen, which is one of the quickest times of any screen tested.
Once the screen is hung on the wall there is no visible flex in the top or bottom rail, and it looks well made. By comparison, the Elite Screens SableFrame model costs more for the same size and offers similar performance, but I ended up with bruised thumbs after spending almost three times as long to build it. The result was similar, but it took more effort and time to get there.
As far as objective measurements go, we made more than a thousand measurements per screen and have consolidated the data into a table below. We go into further detail in the Lots more data section for those who are interested. While some screens measure better than the Silver Ticket, they are either seven times more expensive or time-intensive DIY projects, which most people aren't up for.
Error levels between the projector (reference) and the screens. An ideal screen will produce the exact same numbers as the reference. Any difference means the screen is affecting the color of the reflected image. Numbers use the Delta E 2000 formula, where lower is better. Measurement data from Calman 5.3.6 provided by Portrait Displays.
If the Silver Ticket is sold out, the Elite Screens SableFrame 2 is a suitable replacement. It sells for a bit more money, and the assembly is harder, but the screens' performance levels are very close. The surfaces of the screens are close to identical, the main difference being in how the screens attach to the frames. The Silver Ticket comes together much more easily, and although the material doesn't look as taut as Elite Screens' model during use, there is no functional difference.
If you are OK with a semi-DIY approach, Goo Systems' GooToob system delivered the best color accuracy of any screen material we tested. The package includes a rolled sheet of paper that can make a screen as big as 128 inches in a 16:9 format. If you want something smaller, or even a different aspect ratio, you can trim the screen to a more appropriate size. Everything you need to attach it to the wall is included, along with gloves for handling it and a felt border for the edge.
We pulled out far more data from the Calman color measurement software than just the numbers presented above. Everything is compared to the light directly from our reference projector, the Epson 5020UBe, calibrated off the lens using an i1Pro Spectrometer. Calibrating directly from the lens prevents the screen or room from interfering with the measurements and shows what the projector can actually do. The RGB balance of the projector can be seen below. What we want is every bar to be at 100 with as little deviation from that as possible.
Again, the Stewart has no equal when it comes to a regular projection screen for color accuracy. It is the most expensive screen in the testing, but it does measurably and visibly outperform everything else. The Silver Ticket has larger errors, but very few of them get close to the green line that indicates a visible error. On the Designer White there are clearly visible issues in cyan all across the spectrum, and visible errors on the lower percentage saturations in other colors. The GooToob is also effectively perfect here.
The Stewart Cima line is the company's most affordable line, and the Neve 1.1 material is the closest product to the Silver Ticket. It also measures superbly but costs about seven times more than the Silver Ticket. The StudioTek 130 has the extra gain and pop that make it look better in use, and the GooToob offers almost identical performance at a fraction of the cost. It is a very good screen, but others offer more value or better performance.
Wilsonart Designer White is a laminate meant for putting on furniture and other uses, but it has found a niche in the home theater world. It offers more gain and pop than the GooToob but has the worst measurements of everything we tested. If your local Home Depot or other store stocks it, you can build a 94- to 96-inch screen for $90 without a border. You add a border and some hardware to attach it to the wall, hassle with everything involved ... and wish you had just picked the easier, higher quality Silver Ticket in the first place. 2b1af7f3a8
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