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Projector Screens

Page 9 of 13

The surface your projector paints on. Compare verified specs, real pricing and home-theater compatibility across every model we track.

744 of 744 tracked
200" matte white1.4 gain
$1,300
list price
120" matte white1.1 gain
$1,300
list price
200" grey1.1 gain
$1,350
list price
120" grey1 gain
$1,350
list price
120" grey1 gain
$1,350
list price
100" ALR ambient light rejecting1.5 gain
$1,399
list price
100" ALR ambient light rejecting1.5 gain
$1,399
list price
175" micro perf AT1.4 gain
$1,400
list price
200" grey0.95 gain
$1,450
list price
135" matte white1.1 gain
$1,450
list price
135" matte white1.1 gain
$1,450
list price
200" perforated AT1.1 gain
$1,450
list price
135" grey1 gain
$1,500
list price
135" grey1 gain
$1,500
list price
128" ALR ambient light rejecting0.42 gain
$1,550
list price
220" matte white1.4 gain
$1,650
list price
120" ALR ambient light rejecting0.6 gain
$1,699
list price
120" ALR ambient light rejecting1.5 gain
$1,699
list price
150" matte white1.1 gain
$1,700
list price
150" matte white1.1 gain
$1,700
list price
220" grey1.1 gain
$1,700
list price
150" grey1 gain
$1,750
list price
150" grey1 gain
$1,750
list price
Compared in this department
Related guides
Buying projector screens — common questions

Do you need an ALR screen?

Only if the room has light you can't control. In a genuinely dark room, a standard matte-white screen is the accurate, affordable choice; ALR materials earn their premium by rejecting light that arrives from angles the projector doesn't use. UST projectors are the separate case — they need lenticular CLR material, not generic ALR.

What screen gain should you get?

Around 1.1 is neutral — it reflects roughly what the projector delivers, with wide viewing angles. Higher gain buys brightness for long throws or larger images but narrows the sweet spot; sub-1.0 grey materials sacrifice brightness to deepen blacks in rooms with some ambient light.

What is an acoustically transparent screen for?

Putting the center channel (or the whole front stage) behind the image, the way cinemas do — the weave or perforation lets sound pass through. The trade-offs are a small brightness loss and material cost, worthwhile mainly in dedicated rooms where speaker placement is otherwise compromised.