A: Passive 3D occurs in real time with both eyes seeing an actual picture as opposed to the alternating right-Left eye flickering of active 3D technology. The advantage in this is that the image is brighter because it is simultaneously shown to both eyes. With Active 3D the glasses obstruct the vision of one eye while allowing the other to see the picture alternating at about 60 exposures per eye per second. Essentially the viewer is blindfolded half the time without really being aware of it. The “flickering” of Active 3D technology is that cross-talk and shadowing artifacts occur more easily. It also has a higher tendency to create eye-discomfort in viewers. Passive 3D allows viewers to see the image more comfortably with greater brightness and clarity. Passive 3D glasses are also inexpensive so that they may be easily obtained in quantity and do not suffer from mechanical malfunction like the electrically powered active 3D glasses.
A: For the best possible results, an anamorphic lens is recommended. However, it is possible to get a 2.35:1 screen format as long as you can live with the “black bars” created when a mismatched 16:9 native aspect ratio projecto is set up to fit a wider projection screen format. It is simply a matter of personal preference.
A : Yes, if you are going for optimal performance and “no” if your projector has lens memory and you cannot reconcile with the cost of the anamorphic lens. Here is the difference for each.   Projecting onto a 2.35:1 screen (lens zooming): On a native 16:9 4K projector, lens memory is a pre-set feature that allows you to letterbox zoom and fit the 2.35:1 screen’s footprint. To many, this looks good enough. The bad news is that you are losing 25% (over 2,000,000) pixels. They are not gone; they just appear black to give the illusion of no longer being there. Because 25% of your pixels are out of the game and your projector is trying to stretch what is left to fill your screen, you lose 1/3 of your resolution and 25-30% of your brightness depending on the settings you choose.  It is also worth mentioning that when your projector blacks out 25% of your pixels, it absorbs the light energy which manifests itself as excess heat inside of your projector.  Over time, this excess heat will shorten your projector’s operational lifespan. Some projectors have lens memory so you can switch them at the click of a button but should the projector not have this capability, you’d have to perform this manually through your remote.   Projecting onto a 2.35:1 screen (Anamorphic lens):  In order to take full advantage of all of the pixels from your projector (maximize brightness and resolution) you will need an anamorphic lens and avoid the extra light from over spilling beyond the limits of your 2.35 screen. In other words, your projector needs an anamorphic lens to maximize your video performance.  A memory lens horizontally stretches your image while electronically upscaling your 16:9 projector’s vertical resolution. This means you get the 2.35:1 performance without losing brightness or resolution.  Because you are not running black content in letterbox mode for hours on end, this puts less wear and tear on your projector.   Other options, projecting 16:9 content onto a 2.35:1 Screen: You can still project a 16:9 image onto a 2.35 screen but the image will be smaller and you will have empty space on the sides.  No anamorphic lens is needed in this case but you would have to manually adjust for both aspect ratios when viewing 16:9 and 2.35:1 content.
A: In general, the Airbight 3D2 material is beneficial to use with Active 3D projectors to combat the following.
  • Active 3D projectors lose brightness when 3D mode is activated (approximately 50% of lumens is lost)
  • More is lost when the active shutter glasses are put on. The dark tint of them block the projector's lighting. It's like trying to watch a movie with sunglasses on.
Both high gains on the Airbright 3D2 and CineGrey 5D® materials helps regain brightness levels in 3D mode, and the high gain avaialble on the Airbright 3D2 allows for some ambient light to be on without washing out the projected image as typically experienced on matte white surfaces. The loss of brightness impacts the true home theater experience by producing a dim and bland image.  We recommend using the Airbright 3D2 for this reason.
A: 3D imaging occurs at a lower level of brightness than regular 2D presentations. Also, it is difficult to maintain polarization on regular projection screen materials. The benefits of Passive 3D polarized silver projection screens are that they increase the brightness of projected 3D images while allowing them to  maximize retaining image polarization levels. Lastly, its diffusion layer enhances contrast. Although passive 3D imaging can arguably be performed on other projection materials, the polarized silver materials optimize overall 3D performance with the best results. Yes, the Airbright 3D2 and CineGrey 5D projection screens are passive 3D polarized silver projection screens made for the specific reasons specified in the first part of this answer. The Airbright 3D2 is the standard retail model  while the CineGrey 5D® has added contrast levels for enhanced contrast and diffusion moderation.
A: In addition to an appealing aesthetic appearance, the advantage of having a black velvet covered frame is to help absorb projector overshoot.
A: The Sable Frame and ezFrame frame have different frame designs. The SableFrama has an Astragal (half round surface flanked by 2-flat sides) profile as opposed to the ezFrame’s standard (wedge or sloped-edgethe frames are different only to suit different aesthetic needs.  Please see this PDF for an illustration of the differences.  Both frames come in 16:9, 16:10, and 2.35:1 aspect ratios. Both are also available in Cinegrey, Cinegrey5d, Cinewhite™, Powergain, and AcousticPro1080P2. The ezFrame is different in that it is also 4:3 aspect ratio and it is available with AcousticPro1080P3 and WraithVeil(rear projection) screen material.
A: While the frame structure and screen material performance remain the same between the version 1 and version 2 of the (Lunette, SableFrame,ezFrame) series, there are two main differences.
  • Version 2 features a newly designed material that has a rubber-edge border (does not apply to AcousticPro materials) which makes installation a lot easier and a lot less time consuming.
  • Version 2 comes with an installation kit that includes wood screws & improved dry-wall anchors, wall brackets, screwdriver, and a mallet.
Both of these new features help speed up the overall process of assembly and installation of your fixed frame projection screen.
A: Elite Screens offers replacement CineWhite® material for 4:3, 16:9, and 2.35:1 fixed frame screens. Here is a complete list of the model number for replacement CineWhite Material: ZR84WH-M, ZR92WH-M, ZR100WH-M, ZR106WH-M, ZR110WH-M, ZR110WH1, ZR120WH-M, ZR135WH-M, ZR150WH1, ZR180WH1, ZR84WV-M, ZR100WV-M, ZR120WV-M, ZR96WH1-Wide, ZR103WH1-Wide, ZR115WH1-Wide, ZR125WH1-Wide, ZR138WH1-Wide Decoding the model number: ZR92WH1-M
  • ZR- Replacement Material
  • 92= Diagonal Size of 92″
  • W= CineWhite™
  • H= 16:9 Aspect Ratio (V= 4:3, Wide= 2.35:1)
A: Elite Screens offers replacement PowerGain material for 16:9 fixed frame screens. Here is a complete list of the model number for replacement PowerGain Screen Material: ZR84GH-M, ZR92GH-M, ZR100GH-M, ZR106GH-M, ZR120GH-M, ZR135GH-M, Decoding the model number: ZR92GH1-M
  • ZR- Replacement Material
  • 92= Diagonal Size of 92″
  • G:PowerGain
  • H= 16:9 Aspect Ratio
A: Despite its good looks, a curved projection screen plays a valuable role in today’s home theaters. Residential cinemas are more commonly featuring the same wide “Cinemascope” screen format as one would watch when actually at a movie theater. This wider format looks great but also creates problems that a curve screen design eliminates. The curve serves two purposes. First, it has an aesthetic appeal that draws in the viewer by enhancing a sense of immersion while enhancing resolution and brightness. The curved screen, together with the anamorphic accessories will increase brightness and enhance resolution by up to 30%. It does this by eliminating the black margins that can appear on the projection surface of flat cinemascope screens. Second, it eliminates a visual artifact known as “pincushion effect” which is encountered when scalers and anamorphic lenses are used to create a 2.35:1 (Cinemascope) format.  Pincushion effect is when the top and bottom center of a projected image appear to droop inward creating an hourglass-shaped picture. This happens because the light travels noticeably further to the edges of the screen than it does to the center (The further the throw distance, the larger the image), creating unsightly black margins on the screen itself. The curve design ensures that light travels the same distance to reach any point of the screen thus creating a properly proportioned image. Here is a quick video on Pin cushion and curved projection screen.    
The curve screens are for enhancing the performance of Cinemascope projection.
  • (2.35:1) Curved screens work with the anamorphic lenses and scalers to eliminate 33% of “pixel waste” on the black bars.
  • Curved screens properly format the anamorphic image with optimal contrast (effects of the black framework perfectly framing the image)
  • Curved screens only real claim to enhance 3D is that their curvature helps eliminate hot-spotting on higher gain (3D) materials
  • Curve screens also eliminate the pincushion effect
    The “immersion” factor on a curved 16:9 screen is mostly a myth.
  • Immersion comes from the wide-angle (Cinemascope) presentations where your peripheral vision is picking up movement from the sides of the screen while you are focused on the center picture.
  • 16:9 format is popular for TV sets because your eyes can easily take in the whole image without extra stuff happening off to the sides.
  • This is why theaters are 2.35-2.40 and TVs are still 16:9.
A: Curved screens do not require a special HD (high-definition) projector or lens. Actually, the curve screen is made to enhance the performance of projectors shooting in either a widescreen or cinemascope format. A curved screen’s design primarily improves image depth and perception while increasing brightness uniformity. It also creates a heightened sense of immersion for an improved cinematic experience. When you have a projector with a wide aspect ratio, the light travels a longer distance from the projection lens to the sides of the screen than it does from the lens to the center.  This causes the image to distort into an “hourglass on its side”-shape.  The curve ensures that the light travels an equal distance to all points of the screen so that the image is proportional. The curve also enhances the viewer’s sense of immersion just like in a large movie theater.
A: Although the edges of a curved screen are (physically) further from the wall than the center of the projection screen is, it does not impact the actual focus of the picture for this reason. When a screen is flat and it is being illuminated by a single center-point light source (aka 1-projector) the light is actually travelling a longer distance to reach the edges of the screen as opposed to the screen’s center. This uneven “throw distance” can actually create distortion that manifests itself in the form of an “hourglass-shaped” image. If a projection screen is properly curved, the light hitting the edges is actually traveling an equal distance to the light rays that hit the center of the screen. If anything, a curved screen provides enhanced clarity on the edges. This is why curved screens and geometric correction features on projectors are a must for many of today’s video aficionados.
A: For the best possible results, an anamorphic lens is recommended.  However, it is possible to get a 2.35:1 screen format as long as you can live with the “black bars” created when a mismatched 16:9 native aspect ratio projecto is set up to fit a wider projection screen format.  It is simply a matter of personal preference.
A: In addition to an appealing aesthetic appearance, the advantage of having a black velvet covered frame is to help absorb projector overshoot.
A: No, the 16:9 format does not suffer from the “pincushion” or “barrel” effect that is experience on the 2.35:1 aspect ratio due to its wider format.
A: Curved screens do not require a special HD (high-definition) projector or lens.  A curved screen’s design primarily improves image depth and perception while increasing brightness uniformity. It also creates a heightened sense of immersion for an improved cinematic experience.
A: While the frame structure and screen material performance remain the same between the version 1 and version 2 of the (Lunette, SableFrame,ezFrame) series, there are two main differences.
  • Version 2 features a newly designed material that has a rubber-edge border (does not apply to AcousticPro materials) which makes installation a lot easier and a lot less time consuming.
  • Version 2 comes with an installation kit that includes wood screws & improved dry-wall anchors, wall brackets, screwdriver, and a mallet.
Both of these new features help speed up the overall process of assembly and installation of your fixed frame projection screen.
A: There is a hex screw that must first be inserted on the back channel of the bottom and top frames. Then, the center support bar attaches to the hex screw.
Please also check Screen Material FAQ’s
A: Here is a full list of the model numbers in the Sable Frame Series: ER92WH1, ER100WH1, ER106WH1, ER110WH1, ER120WH1, ER135WH1, ER150WH1, ER180WH1, ER200WH1, ER109WX1, ER114WX1, ER100WH1-A1080P2, ER120WH1-A1080P2, ER100GH1, ER120GH1, ER135GH1, ER150GH1, ER180GH1, ER200GH1, ER100DH3, ER110DH3, ER120DH3, ER135DH3, ER150DH3, ER85WH1-Wide, ER96WH1-Wide, ER103WH1-Wide, ER115WH1-Wide, ER125WH1-Wide, ER138WH1-Wide, ER158WH1-Wide, ER166WH1-Wide, ER176WH1-Wide, ER85H1-Wide, ER96H1-Wide, ER103H1-Wide, ER138H1-Wide, ER85WH1W-A1080P2, ER96WH1W-A1080P2, ER103WH1W-A1080P2, ER115WH1W-A1080P2, ER125WH1W-A1080P2, ER138WH1W-A1080P2, ER158WH1W-A1080P2, ER166WH1W-A1080P2, ER176WH1W-A1080P2
A: Each Elite Screens’ model number starts with the product series name. Follow by case color (if applicable, certain models only available in one color), screen material, screen aspect ratio and product series version. Lastly, extra black drop and its length (if applicable). Here is an example.   ER114WX1
  • ER: Sable Frame
  • 114: 114” Diagonal
  • W: CineWhite® Material
  • X: 16:10 Format (H: 16:9)
  • 1: Version 1
Please also check Screen Material FAQ’s
A: Each Elite Screens’ model number starts with the product series name. Follow by case color (if applicable, certain models only available in one color), screen material, screen aspect ratio and product series version. Lastly, extra black drop and its length (if applicable). Here is an example.   R200WH1
  • 200: 200” Diagonal
  • R: ezFrame
  • W: CineWhite® Material (H: CineGrey / R: Wraith Veil)
  • H: 16:9 Format (V: 4:3)
  • 1: Version 1
  • A1080P: Acoustic Sound Transparent Material
  • A1080P2: New Acoustic Sound Transparent Material
  • A4K: Acoustic Sound Transparent Material for 4K projectors
A: In addition to the sticker labeled "Back Side" placed along the edge of the material, the backside will be slightly shinier and has material folded outward.
Please also check Screen Material FAQ’s
A: Although matte white materials such as CineWhite® are ideal for environments where room lighting can be controlled, the image is easily washed out by ambient light. Ambient Light Rejecting (ALR) materials such as the CineGrey 5D® are suitable for environments where there are high levels of indirect (ambient) light. This material trades off on the wide diffusion uniformity of white materials in favor of a brighter (angular reflective) image. Elite’s CineGrey 5D® incorporates a diffusion layer over a highly reflective surface which scatters ambient light while improving picture performance with a brighter image. This includes color neutrality with enhanced black levels and improvement over Active 3D presentations.
A: Here is a complete list of the model numbers for the ezFrame 2 Series: R84WH2, R100WH2, R110WH2, R120WH2, R100H2
A: Each model number starts with the product series name. Follow by case color (if applicable, certain models only available in one color), screen material, screen aspect ratio and product series version. Lastly, extra black drop and its length (if applicable). Here is an example.
R100WH2
  • 100: 100” Diagonal
  • R: ezFrame
  • W: CineWhite® Material
  • H: 16:9 Format
  • 2: Version 2
A: The degree of the curve on the Lunette 2 is 15 degrees
A: No, an anamorphic lens is not required for a 16:9 aspect ratio screen. You would only need an anamorphic lens to “stretch” your 2.35:1 image onto a 2.35:1 aspect ratio screen when using a 16:9 projector to eliminate the top and bottom black bars.
A: The radius curvature is 40 feet.
A: Here is a complete list of all the model numbers in the Lunette Series: Curve84WH1, Curve92WH1, Curve100WH1, Curve106WH1, Curve110WH1, Curve120WH1, Curve135WH1, Curve150WH1, Curve180WH1, Curve200WH1, Curve235-85W, Curve235-96W, Curve235-103W, Curve235-115W, Curve235-125W, Curve235-138W, Curve235-158W, Curve235-166W
A: Each Elite Screens' model number starts with the product series name. Follow by case color (if applicable, certain models only available in one color), screen material, screen aspect ratio and product series version. Lastly, extra black drop and its length (if applicable). Here is an example. Curve235-166W
  • Curve235: Lunette 2.35:1 Format Series
  • -166: 166” Diagonal
  • W: CineWhite® Material (A1080: Acoustic Sound Transparent Material)
Curve150WH1
  • Curve: Lunette Series
  • 150: 150” Diagonal
  • W: CineWhite® Material
  • H: 16:9 Format
  • 1: Version 1
A: No, the 16:9 format does not suffer from the "pincushion" or "barrel" effect that is experience on the 2.35:1 aspect ratio due to its wider format.
A: Curved screens do not require a special HD (high-definition) projector or lens. A curved screen’s design primarily improves image depth and perception while increasing brightness uniformity. It also creates a heightened sense of immersion for an improved cinematic experience.
A: The degree of the curve on the Lunette 2 is 15 degrees
A: No, an anamorphic lens is not required for a 16:9 aspect ratio screen. You would only need an anamorphic lens to “stretch” your 2.35:1 image onto a 2.35:1 aspect ratio screen when using a 16:9 projector to eliminate the top and bottom black bars.
A: The radius curvature is 40 feet.
A: Here is a complete list of all the model numbers in the Lunette 2 Series: Curve84WH2, Curve92WH2, Curve100WH2, Curve110WH2, Curve120WH2, Curve135WH2, Curve150WH2, Curve180WH2, Curve235-115W2, Curve235-125W2, Curve235-138W2, Curve235-166W2
A: Each Elite Screens’ model number starts with the product series name. Follow by case color (if applicable, certain models only available in one color), screen material, screen aspect ratio and product series version. Lastly, extra black drop and its length (if applicable). Here is an example.

Curve150WH2
  • Curve: Lunette Series
  • 150: 150” Diagonal
  • W: CineWhite® Material
  • H: 16:9 Format
  • 2: Version 2
A: No, the 16:9 format does not suffer from the "pincushion" or "barrel" effect that is experience on the 2.35:1 aspect ratio due to its wider format.
A: Curved screens do not require a special HD (high-definition) projector or lens. A curved screen’s design primarily improves image depth and perception while increasing brightness uniformity. It also creates a heightened sense of immersion for an improved cinematic experience.