A Certain Affinity

How post-production houses are learning to love the big screen

Kane approached a number of manufacturers to develop a screen with a granularity so fine that it wouldn’t interfere with the image quality; however, he soon discovered that this approach introduced its own issues. He decided the only way to solve the problem was to eliminate the spray coat entirely and build the reflectivity into the vinyl itself. Having worked with Da-Lite on previous projects, Kane presented them with this new challenge, and the company’s chemists and engineers proved up to the task.

Touch a JKP Affinity screen, and you’ll feel a completely smooth surface, with no granularity. The screen made such a difference with Kane’s own projector (the Samsung SP-A800B) that, during demos at the 2009 CES, people thought he was showing off a new projector. “No,” he told them, “you’re just seeing the projector’s potential for the very first time.”

Many industry journals have agreed. The JKP Affinity screen has received several editor’s choice awards, a Best of InfoComm award, and even our own CustomRetailer EXCITE! Award. Da-Lite now offers three different Affinity models, with gains of 0.9, 0.6 and 1.1.

A Big Idea

As former chair of the SMPTE Working Group on Professional & Studio Monitors, Kane has long been involved in production and post-production services, and he has long believed that the industry should use large screens for video finishing.

“They need to have a big image in order to see what they’re doing, but they’ve always complained that the color quality isn’t good enough.” Both color and luminance uniformity can be issues in a projection system, which can make the life of a colorist very difficult.

“If you’ve got six clients spread out all over the room, no one is seeing the same picture. It’s impossible to color-correct,” Kane adds. “One of the goals for this screen material was to make sure that, no matter where you were seated, you would all see the same picture. [We have] accomplished that.”

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