FAQ — Professional Projection Screens

Projection screen size cannot be selected from a catalogue. It is determined by the available space, the seating layout, and the objectives of the projection.

First criterion: visibility from every seat

The screen must be legible from every seat in the venue, from the front row to the back. Two simultaneous constraints apply: the screen must be large enough for distant viewers to read content without effort, yet set back far enough that close viewers do not experience visual distortion. A front row positioned too close degrades the experience just as much as an undersized screen.

Second criterion: available throw distance

The distance between the front row and the screen directly determines the maximum usable screen width. There is no universal formula, but a consistent field rule applies: the wider the screen, the greater the throw distance required. Our ratio calculator helps verify the consistency between screen width and height.

Third criterion: venue use

For a venue dedicated exclusively to projection — cinema, permanent conference room — the screen can occupy virtually the entire wall. For a multi-purpose or corporate space, it is advisable not to saturate the wall.

Fourth criterion: installation constraints

A screen positioned a few centimetres from an adjacent wall is technically difficult to install correctly. This constraint may determine the choice between a fixed screen and a motorised screen, or even require a revision of the dimensions.

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The choice between a motorised and a fixed screen depends above all on the intended use of the venue. It is not primarily a budget question — it is a question of use.

Fixed screen: the choice for dedicated venues

When a venue is used exclusively for projection — cinema, permanent conference room, home cinema — a fixed screen is the natural choice. It offers optimal fabric stability, simpler installation and a lower cost than an equivalent motorised solution.

Motorised screen: the choice for multi-purpose spaces

Motorisation makes most sense in multi-use venues. A dance studio that hosts occasional screenings, a performance space with a modular stage, a civic multi-purpose hall: in these contexts, the ability to make the screen appear or disappear delivers real functional value. Multivision offers several ranges of motorised screens to suit these needs.

A note on budget

Motorised screens wider than 7 metres fall into a significantly higher price bracket, owing to the motorisation system and integrated winding mechanisms. Below this threshold, the cost difference remains reasonable.

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These two projection modes address radically different spatial and operational constraints. Understanding their logic helps avoid a design error that is costly to correct post-installation.

Front projection: the standard configuration

This is the most common projection mode. The projector faces the screen and projects the image onto the reflective surface. This configuration allows considerable freedom in the choice of projection fabrics. Its single constraint: the projection axis must remain unobstructed. If people regularly pass between the projector and the screen, the image is interrupted and the experience degraded.

Rear projection: the solution when crossing traffic is unavoidable

In rear projection, the projector is placed behind the screen. The image passes through the fabric and appears on the viewer side. This setup entirely eliminates interference from people crossing in front of the screen. It is particularly suited to busy public spaces: showrooms, exhibition halls, theatre or opera stages. The key constraint: adequate space behind the screen is essential.

The fabric changes with the mode

Rear projection fabrics differ from front projection fabrics, with specific optical characteristics. Multivision offers solutions for both, as well as fabrics suited to both configurations.

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Gain is one of the most decisive parameters for perceived image quality — and yet it is frequently overlooked in projection projects.

Definition: what is screen gain?

The gain of a projection fabric measures its ability to reflect light towards the viewer, relative to a matte white reference surface with a gain of 1.0. Available fabrics cover a gain range from 0.15 to 2.4, depending on the specific requirements of each project.

Gain above 1 (1.4 to 2.4): higher brightness, narrower viewing angle

A high-gain fabric concentrates light towards the central projection axis. The image appears brighter for viewers seated directly in front of the screen, but quality degrades for those positioned to the sides. This type of fabric suits dark venues with few off-axis viewers.

Gain below 1 (0.15 to 0.8): wide diffusion, ideal for large venues

A low-gain fabric diffuses light in all directions. The image is perceived uniformly from any position in the venue. This is the preferred solution for large auditoria, wide rooms or rear projection.

Neutral gain (0.8 to 1.12): the reference balance

A gain between 0.8 and 1.12 offers the best balance between colour fidelity, image uniformity and acceptable viewing angle. This is the range most commonly used in professional cinema.

An often overlooked point: matching fabric to projector

Screen gain cannot be evaluated in isolation. A high-gain fabric combined with an overpowered projector will produce oversaturated colours. Conversely, a low-gain fabric with an underpowered projector will produce a dull image.

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The choice of projection fabric colour is not an aesthetic decision. It is entirely determined by the lighting conditions in the venue and the light output of the projector.

White fabric: the universal reference

A white fabric (gain ~1.0) is the most widely used across all sectors. It reproduces colours faithfully without alteration. It suits all venues specifically designed for projection — cinemas, dedicated conference rooms, auditoria where ambient light is controlled.

Grey fabric: for environments with more ambient light

Grey fabric, standard or metallised (gain 0.8 to 1.4), absorbs part of the ambient light rather than reflecting it. This improves perceived contrast: blacks appear deeper. It is recommended for environments where light control is partial. Metallised surfaces such as Clarus XC or Perlux are also suited to 3D projection.

Dark grey fabric: for extreme contrast

Dark grey fabrics (gain <0.8) accentuate contrast further. They are designed for premium installations where image depth takes priority over brightness. Their use requires a projector powerful enough to compensate for their significant light absorption.

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An acoustically transparent screen, also known as a perforated or transsonic screen, allows speakers placed behind the projection fabric to pass sound through without the screen degrading audio quality. It is a precise technical solution designed for installations where immersive sound and visual projection must work together.

How does it work?

The fabric is perforated to allow sound waves to pass through. Two levels of perforation are available: standard perforation at 0.9 mm, and micro-perforation at 0.5 mm, which further reduces the visual impact of the perforations on the projected image. In both cases, the perforations are designed to be invisible at normal projection distances.

When to use it

In cinema with immersive Dolby Atmos or 360° surround sound (speakers behind the screen are essential), in scenic spaces — theatres, opera houses, performance venues — to conceal stage sound systems, and in premium home cinema for total invisibility of audiovisual equipment.

Limitations to be aware of

Perforation is not possible on all fabrics. It is incompatible with Cinopaque fabric (white front / black back), green screen fabric, and all rear projection fabrics. It must be specified at the design stage, as it influences both gain and the screen fixing system.

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