About Stewart Filmscreen
At 55 years of age, Roy Stewart had an opportunity that fit in with his vision of making large front and rear projection screens. With the help of his two sons, Marshall, 23, and Clifford, 20, the purchase was made and a small pilot operation was opened at a former WWII munitions facility in Torrance. Under the name, Roy C. Stewart & Sons, the business produced one lace and grommet screen a week for the movie industry.
For more than 65 years now, Stewart has been the consistent choice of discerning clientele around the world. Aesthetic-conscious architects, consultants, systems designers, and property owners rely on Stewart Filmscreen for the perfect combination of superior quality, flexible design, and dedicated support, and we consistently deliver. Providing the most immersive experience in the industry, Stewart has a projection screen to meet your needs.
Stewart Filmscreen thinks a lot about light and images and your eye, but we haven’t forgotten about sound. If you were to take a close look at the screen in a movie theater, you would see perforations. Why? To let the sound from behind-the-screen speakers pass through.
Stewart Filmscreen offers screens that are acoustically transparent so you can place speaker(s) behind the screen to create big theater sound in a personal theater. During post-production audio mix for a film, sound tracks are assigned to designated speakers, with left, center and right channel speakers in the front, surround sound speaker behind the viewer.
That way the sound comes from where you expect it. The audio is aligned with action seen on the screen. Stewart’s THX® acoustically transparent screen has over 30,000 micro-perforations per square foot, compared with 5,500 in a commercial movie theater screen. In addition, the perforations are much smaller than those on commercial theater screens. Having more, smaller perforations is better for the type of sound waves transmitted by home cinema audio systems. And don’t worry—you won’t see the holes, but your ears will tell you they are there.
4 distinct aspect ratios
The 4 distinct aspect ratios are 2.35:1 or 2.39:1 Cinemascope, 1.85:1 Widescreen, 1.78:1 (16:9) HDTV and 1.33:1 (4:3) Classic TV. The most common aspect ratios used today in the presentation of films in the cinema are 1.85:1 and 2.39:1. The two common video aspect ratios are 4:3 and 16:9. The 4:3 aspect ratio is the universal video format of the 20th century and 16:9 is the universal high definition television aspect ratio. When selecting a projection screen, it is ideal to have masking which will allow a projection system to display all four distinct aspect ratios.
Many Hollywood blockbusters are produced in formats such as Cinemascope (2.39:1) where the movie is 2.39 times wider than it is high. When watching this aspect ratio on a 16:9 screen, 33% of the pixels are used to create annoying black bars, reducing your image resolution. Designed for use with an anamorphic lens, the CineCurve features a native 2.40:1 image area allowing full enjoyment and flexibility when watching movies in super-wide screen formats. The patented CineCurve features a curvature of the screen which heightens the viewer’s sense of immersion. Maintaining a constant vertical height, two electronically controlled masking panels glide in from the left and right to create the perfect image area when viewing different types of media or movies filmed in various aspect ratios from 2.39:1 to 1.33:1. The CineCurve is available with many of Stewart’s front projection materials and all of material options can be Microperfed for acoustical transparency. Also a specialized snap-fastening system ensures a smooth and perfectly tensioned screen surface and our VeLux™ applique finish absorbs over-scan and increases perceived contrast.
Constant Image Height
Stewart Filmscreen offers two screen systems which utilize variable vertical masking to maintain a constant image height on all source material. The CineCurve and VistaScope masking system can accurately display any aspect ratio from 1.33:1 to 2.39:1 without requiring the image to be stretched, distorted, and without distracting black bars.
The majority of commercial cinema theaters are designed in what is known as a Constant Image Height (CIH) configuration. The 1.85:1 and 2.39:1 aspect ratios maintain the same top and bottom boundaries. When Cinemascope movies are projected, the curtains will open to expand the image width.
On a proper CIH setup, films and TV shows with aspect ratios less than 2.39:1 should be projected onto the center of the screen. Then the masking or curtains come inwards to cover up the non-projected area and absorb any excess light. Creating a CIH projection system comes much closer to the true intent of a home theater to replicate the theatrical experience at home.
The two ways to create this experience are the zoom method and the anamorphic lens option (horizontal and vertical). The zoom method uses the projector’s zoom feature to fill the screen with the movie image. The other option is to place an anamorphic lens in front of the projector to convert the 16:9 video output into Cinemascope. The Cinecurve would be the best screen to use with the anamorphic lens and the VistaScope would be the best for the zoom method.