In the earlier days of AV when slide projectors were king and the biggest decision was whether to project front or rear, the role of the projection surface was pretty vital. A screen's reflective and gain qualities had a major impact on the quality of the image even to the untrained eye. As video projectors took over and light output shot up from 150 lumens to over 10,000, the role of the screen took a temporary backseat. Today, as projection technology is reaching a plateau in resolution and brightness, the focus returns to the screen and its contribution to the impact of the projected image.

Major screen manufacturers (i.e. Da-Lite, Draper, ProScreen, Stewart, and The Screen Works) have expanded and improved their offerings. While most customer requests regarding fastfold screens reference generic terms such as matte white, rear, silver lenticular, and seamless, screen companies have a profusion of products with names ranging from Aeroview to VOATEX. Unless you regularly converse using terms such as "spectral radiance" and "goniophotometer", look for a staging partner and/or screen representative who can shoot straight with you on what advantages you can expect in regards to screen choices available in today's market.

While fastfold front and rear screens are the most commonly used display surfaces for staged events, they are by no means the only types. Lasers, lights and PANI slides have projected on everything from ballroom ceilings to canyon walls for years. High-lumen video projectors are also finding new surfaces to flaunt their moving images. Corporate Magic, a Dallas-based production company, used liquid nitrogen as a projection screen over a decade ago. Disney has perfected the art of projecting on water and now there are portable water screens available for sale or rent. The increased depth of field of DLP projectors make curved screens and spheres equally viable as projection surfaces.

One of the more recent additions to a screen inventory is Stewart's GrayHawk. This front projection screen has a unique translucent optical coating combined with a gray based undercoating. It increases image black levels, shadow detailing and overall color saturation. The result is said to provide more of a film-like quality. Look for staging companies to begin adding this fabric to their rental inventory in the coming months.

Along with the fabrics themselves, there have been recent improvements in other areas of screen technology. At last year's Infocomm, AV Stumpfl, an Austrian based company, entered the American market and got lots of attention. Their durable and highly reliable joint and frame design garnered serious respect when compared to the often snapped-in-two hinges of aluminum frames we are all familiar with. American screen companies, have begun making changes to their frame design to keep pace. Another simple albeit overdue improvement has been made to screen cases with the recent addition of wheels.

Scrims and lighting have long been used to create astonishing projection effects. A number of companies have sprung up in recent years offering innovative screen products that promote new creative efforts. Laser Magic Productions, headquartered in Los Angeles, markets a product called TransScreen. Using this transparent video projection surface the illusion of full color holographic 3D images is achieved. You can see right through it, but you also experience high-resolution video images floating in space. Ambient light should be minimal, but projection can come from any angle. A similar product called Holo ProscreenTM is getting serious play at trade shows and in storefronts. Marketed as the Hitachi AirShoTM System by ProScreen, the Holo ProScreenTM can even be used outdoors. Its photopolymer surface does not reflect sunlight, but rather transmits polarized refracted light images from a 1500-3000 lumen projector to the front of the screen.

Lumin-oZ, another LA-based company, offers numerous flexible screen products that can be bent, molded or cut into any size or shape, all while retaining a sharp quality picture in high ambient light. Size limitations and significant cost are the primary obstacles faced by these technologies.

Traditional screens are available in virtually any size and format and new high-tech (and often high dollar) products continue to be perfected. However, we should not overlook an inexpensive yet creative option for displaying video images. Set pieces and painted flats used as screens can often transform an otherwise sterile ballroom into a memorable meeting environment. The windows in a cityscape set can double as rear projection screens. Custom built set pieces or even walls can be painted flat white and used as screens. Creative producers using templates when creating their videos and graphics can get "outside the box" and use geometrical shapes, maps, company logos and the like as screens.

When all is said and done, there is really very little limitation on what can be used as screen surfaces. So when designing the look for a corporate meeting or special event how does a producer decide on the number of screens, the size and type of screens and the placement of screens? A threefold formula often works well. First, let your imagination go wild. Ideally what would you like the room to look like for your audience? Where would you like screens? Will readymade screens fit the bill or will custom ones be required? Will they need to be flown, on legs or built into a set? Second, look at how much budget you have. Along with the screens themselves what will be the cost of the projectors and required switching system? What about the production costs to justify the quantity and kinds of display surfaces desired? How much of your vision can be financed? Third, partner with a staging company that has a track record and commitment to turn your dream into reality. Unfortunately, far too often, step two (the budget) often dictates that a single screen on legs will have to work just fine.

No discussion of screens is complete without mention of maintenance. The art of folding screens so that the snaps don't dimple the fabric is a desired talent for all who break down screens. While liquid paper can touch up scarred front surfaces and transparent tape may help repair a laser or cigarette burn hole, screens by and large must be discarded if damaged. A clean, well-maintained screen set up by trained media specialists speaks volumes about the overall care and quality you can expect from your equipment provider.
Some screens (Stewart seamless comes to mind) must not be folded, but rather must be rolled. There is no one still living known to have folded a large format rollup screen more than once.

Steve Alford is President of Alford Media Services, a nationally respected corporate staging company. Steve has a Degree in Telecommunications from ORU and a Master’s Degree in Industrial Technology from Temple University. Steve is an active member of ICIA and is on the board of directors for numerous organizations including the Video Association of Dallas and the USA Film Festival. Steve can be reached at steve.alford@alfordmedia.com