**NOW ALL CINEMA 360 ELECTRIC SCREENS ARE TAB-TENSIONED FOR BETTER PICTURE PERFORMANCE**

2:35:1 ELECTRIC screens with a choice of two fabrics:

a) HD White fabric, 1.0 gain

b) HD Grey fabric, 0.8 gain

*BLACK  or SILVER/ALUMINIUM HOUSING.

*More than 50% saving off the cost of equivalent quality products!

Product Specification:
Imported classic soft video spectra, low reflecting rate, high contrast, the latest video screen. 0.8 or 1.0 gain Micro dense optical structure,to allow a clear and natural picture.   Black Aluminum frame to absorb light,enhance contrast and really make those colors pop! Easy installation,2:35:1 format IR remote control 220v Somfy motor Suitable for use in home theatres, scientic research institutions, government, command centres and casinos or other entertainment sites.
Optimum screen aspect for REAL home cinema? First, to all you home cinema enthusiasts out there I ask a pertinent question. "Can you tell me ANY commercial cinema with a 16:9 screen?" The answer of course is there are none. 16:9 is a "compromise " ratio adopted by the t.v. industry with little relation to the aspect ratio the majority of movies are filmed in. That aspect ratio is 2:35:1. That's why on your 1080p projector when watching a 2:35:1 movie (most Hollywood blockbusters) you see black bars. Well, IN those black bars is LOST resolution that your projector is not maximising because its not 2:35:1. That means in real terms you are watching-viewable resolution-about 800p. So lets talk pure sense, if over 70% of movies are in 2:35:1 - and ALL the blockbusters are 2:35:1 at least - then what size screen should you have? 2:35:1..that's logical Jim. Optimum screen Gain? The so-called "gain" of a projection screen is just as significant in determining the brightness of the image as its size. In general terms, screen gain is the ratio of the amount of light reflected from the screen to the amount of light incident upon it. "Unity gain" (a gain of 1.0) means there is no net loss or increase in the amount of light reflected from the screen compared with the amount of light hitting it. Using this definition, a gain greater than 1.0 means that the amount of light reflected from the screen is greater than the amount of light hitting it. This results in a brighter image on- or slightly off-axis, but a dimmer image as you move further to the sides. High-gain screens can also have hot spots; that is, they look obviously brighter in the center than at the sides. The higher the gain, the more pronounced the hot spot. .In addition, their off-axis characteristics make it more likely to reflect light from nearby walls that may, in turn, reflect back onto the screen. This not only reduces contrast, but it also affects the color purity of the image (if the walls aren't painted a neutral color). A screen can also have a gain of less than 1.0. Some (but not all) of these screens look gray in normal room lighting, but due to the characteristics of the eye, white picture details look white on them. The point of a reduced-gain screen is to produce darker blacks. I have found that overall, where light can be well controlled, a screen gain of 0.9 is optimum on 2:35:1 screens 7ft wide and larger as long as we can achieve a peak brightness of about 16FL (* and a video black level of 0.008fL). Not bad at all, and you'll still get an adequately bright image when that new projection lamp looses 30% of its light output in a few hundred hours. In the Odeon Leicester Square, The Empire Leicester Square, the Kodak Theater, IMAX theatres, Smilebox Cinerama theatres most screens are between 0.9 and 0.95 gain.  Optimum overall Goal The recommendations of the Society of Motion Picture and Television Engineers (SMPTE) call for commercial movie theaters to produce a light output of 16 foot-lamberts, open gate-that is, with no film in the projector. Place a clear film frame in the projection gate-the brightest image you can get with a film running-and the output drops to about 12fL. This is an ideal that is met or exceeded only in the very best theatres using fresh projection lamps. My preference is 16fL on a home projection screen, with a new lamp, regardless of the screen's size. That's just slightly more than in those premier commercial theaters. It's not only enough to give the image a little added punch, but it also provides enough reserve to maintain a usefully bright image after the first few hundred hours of use. My experience strongly suggests that new projection lamps lose 25-30% of their brightness during this period. Realistically, you're more likely to get 12-14fL from many-if not most-home theatre digital projectors on an 80-inch-wide screen. That's a visible but subtle reduction from my 16fL goal. Fortunately, our eyes respond nonlinearly to changes in brightness, so this difference is not as perceptible as the numbers might sound. So what screen would be ideal based on the above for a room with good light control-would achieve the best picture-the most immersive picture-have the correct gain-so not too much light is wasted, so blacks look black ,bold dynamic picture etc. ALL the resolution utilised etc.? Simple.. A 7ft wide,2:35:1 screen with a gain of 0.9! Now, I'm sure there are a few out there that already know this, but will say "Yes but these screens start at close to £2,000." And they are correct - most good screens with this spec will cost from £1,700 upwards. This has been the drawback in a lot of folks setups - they have cut corners with the screen - with one comment being that they are too expensive… and in fairness they are. So after 2 years research and trials I have finally got my own screens under the CINEMA 360 brand. I used all I knew from countless experiences with EVERY screen out there to arrive at a product that has all the key qualities necessary for a great picture. Being that over the last 5 years alone, I have sold and setup over 400 projectors and performed about 150 calibrations to ISF specified parameters, I have a good idea of what a great picture should look like and how to get it!  I am a trained ISF calibrator that has actually taken - and passed his exams, unlike many who have just sat in on the course . It won't surprise you to know that there are few screen manufacturers that are ISF professionals. Nevertheless, I won't make inflated claims for these screens against competitors costing twice or three times as much, what I will say is that IF there are subtle performance improvements to be made by spending far more - is that extra really worth it?..Can it be seen with the eye or only on a spec sheet? After 40 years associated with hi-fi and a.v. the art is finding the point at which its good enough - the difficulty of course is establishing that point. With the  CINEMA 360 screens-like the  CINEMA 360 cables, I am proud to offer a fantastic product that punches way above its weight, that I am proud of - and for the money -against exorbitantly priced comparitive products is a real bargain that doesn't compromise ANYTHING.

ALL screen sizes are Available and can indeed be custom made to ANY size..9ft ,15ft..20ft and so on....lead times to have your screen custom made vary but can be discussedon order/normally 3 weeks...max..