We present to you a dictionary of concepts, terms, and definitions that we use when describing our products. This glossary was created with distributors, installers, and users planning to purchase a projection screen in mind, and serves to systematize concepts and clarify those terms that are treated differently by various manufacturers.
Gain
Gain is a measure of how much a screen reflects projection light toward the viewer, compared to a reference surface (called a standard white screen with gain = 1.0). In other words:
Gain = the ratio of the brightness of light reflected by the screen to the brightness of light reflected by the reference surface.
| Gain value | Meaning | Effect |
|---|---|---|
| < 1.0 (e.g., 0.7) | Low-gain | More diffused, less bright image, but better viewing angles and fewer hotspots |
| 1.0 | Neutral gain | Balance between brightness and viewing angle |
| > 1.0 (e.g., 1.5–2.5) | High-gain | Brighter image head-on, but narrower viewing angle and risk of hotspots (localized bright spots) |
Gain depends on the properties of the screen surface: structure, color, reflectivity, and directionality. Matte and diffusive materials, such as Reflon®, have low gain, meaning they: reflect light evenly in multiple directions (diffusion), provide a natural image and consistent brightness even at an angle, and are ideal for darkened rooms where the projector is sufficiently bright.
| Gain | Typical material | Brightness head-on | Viewing angle | Hotspot risk | Application |
|---|---|---|---|---|---|
| 0.6 – 0.8 | Matte fabrics, Reflon® | Low (but uniform) | Wide (up to 180°) | None | Cinemas, studio rooms, premium AV |
| 1.0 | Neutral white (reference standard) | Medium, uniform | Medium (~120°) | Minimal | Universal projection rooms |
| 1.2 – 1.5 | Vinyl-coated surfaces | Increased brightness | Narrower (~90°) | Moderate | Bright rooms, offices, education |
| 2.0+ | High-gain (e.g., glass, aluminum) | Very high | Narrow (<60°) | High | Large rooms with limited light control |
Matt White
The term “Matt White” is often used in public and sales contexts as a general name for projection screen surfaces. However, in practice, this term is sometimes used imprecisely, which can mislead users. While “Matt White” theoretically should refer to a matte, white polyester fabric made from PET fibers, in practice, this name is often overused. Therefore, when choosing a screen, it is worth paying attention not only to marketing terms but also to the material composition, reflectivity coefficient (gain), and manufacturer recommendations.
Native aspect ratio
Similar to active matrices, which use the term “native resolution,” in the case of projection screens, we use the term “native aspect ratio,” which refers to the ratio of the shorter to the longer side of the screen (reflective part) when utilizing 100% of the screen’s surface.
Alternative aspect ratios
By reducing the screen height, we can adapt to any existing video material aspect ratio (below the native aspect ratio). In the technical specifications of Reiba® brand screens, we provide three main cinematic aspect ratios achievable by retracting part of the screen.
Reflon™
Reflon® is a registered trademark of Reiba®, referring to an advanced material based on polyester PET (polyethylene terephthalate) in the form of specialized fibers. Reflon® was developed for use in high-end cinematic and projection screens, where key factors include: surface uniformity, light reflection control, and faithful image reproduction.
Thanks to the precise fiber structure and optimized production process, Reflon® ensures:
- Matte finish with low gain coefficient, reducing hotspots and unwanted reflections
- High color reproduction fidelity (high-fidelity), crucial for demanding cinematic and studio applications
- Dimensional stability and durability characteristic of high-quality PET
- Compatibility with 2D and 3D projection technologies, including DLP, LCoS, and laser systems
Standard aspect ratios in cinema and films
- 4:3 (1.33:1) – Classic “Academy Ratio” format, used in old films and television (e.g., films from the 1930s-1950s, series like MASH*).
- 16:9 (1.78:1) – Standard HDTV and streaming platform format (e.g., Netflix®, YouTube®). Often used in films primarily intended for home viewing.
- 1.85:1 – Popular cinematic format in the USA and Europe (e.g., many Disney® films, comedies, dramas).
- 2.39:1 (CinemaScope / Panavision) – Wide cinematic format, characteristic of epic films and blockbusters (e.g., Gladiator, Mad Max: Fury Road).
- 2.35:1 – Very similar to 2.39:1, used in older films (e.g., Star Wars: A New Hope).
- IMAX (1.43:1 or 1.90:1) – Extremely wide format, used in IMAX films (e.g., Dune, Interstellar).
- 1.66:1 – Used in some European films (e.g., Kubrick’s Lolita).
- 2.76:1 (Ultra Panavision 70) – Extremely wide format (e.g., Tarantino’s The Hateful Eight).
- 1.19:1 – Rare, square format (e.g., Abel Gance’s Napoleon).
Today, many films are shot in 2.39:1 but adapted to 16:9 on streaming platforms via letterboxing (black bars at the top and bottom) or pan & scan (cropping the sides).
