The Best Projector Screen (for most people)

We’ve looked over this guide and stand by our recommendations. We’ve added a What you need to know box.

If you own (or plan to buy) a front projector to watch movies on a big screen, we recommend that you add a projector screen to get the best picture quality. You’ll have a tough time finding something better than the Silver Ticket STR Series. It's easy to assemble and available in a variety of sizes, and it has a relatively neutral surface. Some screens are better or cheaper, but none match the Silver Ticket in achieving that perfect balance of better and cheaper.

A good screen provides a smooth, color-neutral surface that helps preserve your projector's brightness and overall image quality.

The larger your screen size, the brighter your projector needs to be to produce a satisfying, well-saturated image.

We looked for 100-inch, 16:9-shaped screens with standard reflectivity, minimal color shift, no noticeable texture, and easy setup.

We hand-assembled each frame and used a spectrometer and colorimeter to measure each screen's gain and color accuracy.

This screen has comparable performance to those costing seven times as much, plus it's easy to set up and install. It's a huge bargain for what you get.

We spent 90 hours building (and painting) screens, watching content on them, measuring image quality, and comparing them side by side—and we’re confident that the Silver Ticket STR Series fixed-frame screen (with white material) is the best projector screen for most people. Even though it was the cheapest prebuilt screen we tested, it performed just as well as much more expensive options, including our high-end reference screen: the Stewart StudioTek 130. It offers sharp image quality with a minimal amount of tint, and we found it easier to assemble than many of the other screens we tested. It is available in a variety of shapes and sizes; in the standard 16:9 shape, you can get it in sizes from 92 to 200 inches.

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The Sable Frame 2 screen's performance is comparable to our main pick, but it tends to cost a little more and it's harder to assemble.

*At the time of publishing, the price was $320.

If the Silver Ticket STR Series is sold out, the Elite Screens SableFrame 2 fixed-frame screen is a decent runner-up. It costs a bit more and is harder to assemble than our main pick, but the performance is comparable. The Sabe Frame 2 is available in the standard 16:9 shape in sizes from 100 to 200 inches.

The GooToob offered the best measured performance of any screen we tested, regardless of price, but is a huge pain to install and nearly impossible to move.

May be out of stock

If you’re okay with a do-it-yourself project and want an even better image, the Goo Systems GooToob tops the Silver Ticket in performance. In fact, this solution measured the best objective performance overall, regardless of price—though it was a small enough margin compared with our expensive reference screen, the Stewart StudioTek 130, that they’re effectively the same. The color was neutral and the image had a slightly smoother look to it. It's a small difference between this and our top pick, but one that you can see without extra equipment when the images are side by side. The GooToob system is harder to set up and more expensive, but it looks wonderful.

This screen has comparable performance to those costing seven times as much, plus it's easy to set up and install. It's a huge bargain for what you get.

The Sable Frame 2 screen's performance is comparable to our main pick, but it tends to cost a little more and it's harder to assemble.

*At the time of publishing, the price was $320.

The GooToob offered the best measured performance of any screen we tested, regardless of price, but is a huge pain to install and nearly impossible to move.

May be out of stock

I’ve been reviewing displays and projectors since 2008. I’m ISF certified to get the best out of any display device and have all the NIST-certified equipment to measure any TV, projector, or screen that comes along.

If you have a projector, you should get a screen. Most modern projectors are bright enough to throw a decent image on just about any close-enough-to-white surface, but if you’re still using a white-painted wall, you really should upgrade. A screen has less texture and will show more accurate colors, plus add pop to the image, since paint will almost always reflect less light than a screen (meaning the image will appear dimmer than is ideal).

But if you ask a home theater expert or aficionado what to choose, more often than not, they’ll recommend something that costs more than the projector itself. Our pick is aimed more at someone looking to put together a casual home theater on a budget or just wanting to upgrade from a living room wall. A good screen can last a long time, so it's worth investing enough money to get something that's easy to set up and offers decent performance.

If you’re still using a white-painted wall, you really should upgrade. A screen has less texture and will show more accurate colors, plus add pop to the image.

For most people, it's not worth paying significantly more than a few hundred dollars since you’d need a high-end, properly calibrated projector to be able to perceive any noticeable performance gains. But if you have a high-end projector and want to get the most out of your setup, the reference screen we used for our testing, the Stewart StudioTek 130, has long been an industry standard.

Regardless of how much you spend, know that screen technology is not some fast-moving tech sector like smartphones or tablets. The screen you buy today will likely last through multiple projectors before needing replacement. For example, Stewart has made the StudioTek 130 for more than a decade with various incremental upgrades. Many professional reviewers have used the StudioTek 130 since the age of CRT projectors, and it still holds up today.

If you already have a projection screen that isn't made of blackout cloth1 and uses a real screen material, you’re probably OK and don't need to go out and buy a new screen. But if you want to go larger, as the latest projectors are bright enough to support larger images, it's worth considering a new screen.

Unlike TVs, projectors are actually one part of a multipart system. The screen, room, and projector all play a role in the final image you see. A projector can be perfectly accurate (more on this below), but the image can still look wrong because of how the screen is affecting it. The main factors we considered when testing a projection screen were: gain, color accuracy, viewing angle, and texture.

A projector can be perfectly accurate, but the image can still look wrong because of how the screen is affecting it.

Gain is a measurement of how much light the screen reflects. A gain of 1.0 means it reflects the same amount of light as an industry standard white magnesium-oxide board. Screens can reflect less light and have a gain of less than 1.0, or more light and have a gain higher than 1.0. A lower gain will produce deeper, darker blacks but reduce overall image brightness. In the early days of digital projection, this was useful because projectors had terrible (read: grayish) blacks. But that is less of an issue now with most decent projectors.

A higher gain, made possible by special screen materials, reflects more light back toward the center of the room. This creates a brighter image, but it also reduces viewing angles and can introduce hot spots (areas of the image that are noticeably brighter than other areas). It used to be that a higher gain was necessary, but as projectors have gotten more powerful, today a gain of 1.0 is often sufficient.

Color accuracy measures how well the screen reflects the colors projected onto it. The makeup of the screen can result in certain colors being absorbed more than others and introduce a tint to the image that isn't coming from the projector. Many projectors ship with picture modes that are close to accurate out of the box, but those might no longer be accurate after they hit the screen. A screen that introduces as little color shifting as possible is ideal. The two images below show the same image on two different screen materials. You can easily see the color shifts between the two and the problems a screen can introduce.

Viewing angles influence how wide you can sit from the center of the screen before the light noticeably drops off. With a gain of 1.0, the viewing angle can be close to 180 degrees, since it reflects everything more or less equally in all directions. With a higher gain, the viewing angle gets smaller, as you are in essence "focusing" the reflected light more toward the center of the room. With a high-gain screen, you’ll want to put seats closer to the center of the screen.

The texture of the screen also impacts how much detail you can see. If a screen's texture is evident from a usual seating distance, it will alter the image quality and possibly your enjoyment. If the screen material is very fine, then you will not see any texture from a normal viewing distance, so the image appears smooth.

Almost all of the screen reviews out there are of expensive screens, so we had to start from scratch. I first went to the AccuCal Projection Screen Material Report. W. Jeff Maier of AccuCal has tested samples of many screen materials using high-end equipment to determine their color accuracy and actual gain. Since he is dealing with only samples of the materials (often 8½- by 11-inch pieces) that he is sent through the mail, the report doesn't go into construction or installation of the screens themselves.

Next, my research turned to the main AVSForum and other resources. Here the screen conversations range from the top-of-the-line Stewart to a DIY option for $3 from Home Depot. There are also many small Internet Direct companies that would otherwise go unnoticed without discussions at AVS and other locations.

We also pored over reviews from Amazon, making sure to carefully read what people actually complained about. I also talked to other reviewers and calibrators to find out what they might have used and seen in their work that impressed them, even if they had not formally reviewed that particular screen.

After all that, we set out to review 100-inch, 16:9 screens, as close to 1.0 gain as possible. We figured this was a good-size, average screen that would work for most people. You can certainly go larger, though the image will be dimmer (by an amount equal to the increase in screen area). Since most modern home theater projectors won't have an issue creating a bright image on a 100-inch screen (and most can even do larger), we didn't feel anything higher than a 1.0 gain was necessary. Since most content is 16:9, that was also our preferred screen shape, though many companies make 2.35:1-shaped screens as well.

We didn't test pull-down screens or ambient-light-rejecting materials unless we already had a sample around. Those are more specialized cases, and we were looking for the screen that would be best for the greatest number of people in a semi-permanent home setting.

We were looking for a roughly 100-inch, 1.0-gain, 16:9 screen that had very little color shift, no noticeable texture, good viewing angles, and easy installation and setup. And, ideally, was very inexpensive.

So to sum up, we were looking for a roughly 100-inch, 1.0-gain, 16:9 screen that had very little color shift, no noticeable texture, good viewing angles, and easy installation and setup—and, ideally, was very inexpensive. With that in mind, we ended up bringing in the Silver Ticket STR Series 100″, the Elite Screens SableFrame 2 100″ in CineWhite, the 100-inch Stewart StudioTek 130 and Cima Neve 1.1 screens, three 120-inch screen materials (blackout cloth, FlexiWhite, and FlexiGray) from Carl's Place, Wilsonart Designer White laminate in an 8- by 4-foot sheet, Goo Systems' Screen Goo Reference White and GooToob, and Home Depot's Behr Silver Screen. I also included in the testing my personal screen, a 122-inch Screen Innovations SolarHD 4K.

The Stewart and Screen Innovations screens are much more expensive models that are often sold only through custom AV retailers, but we still included them in our tests as references for comparison. Stewart is the best-selling screen brand for custom home theaters, and the StudioTek 130 is the company's best-selling material. It is the reference standard for a home theater screen and the one most reviewers are likely to recommend if you ask for a single suggestion; I use it when testing projectors. In our tests of screens, we wanted to make sure to pit everything against this reference to see how well they performed.

To test the contenders, every screen was assembled and tested in my home theater room. I used an Epson 5020UBe projector combined with a Lumagen Radiance 2021 video processor to make the projected image as close to reference accurate as possible. Using a spectrometer and a colorimeter along with Portrait Displays Calman color calibration software, I measured the images off the lens, then off the screen, to see how much of a color shift each screen introduced, and to calculate the gain. A variety of content was viewed on each screen to look for sparkles, hot spots, texture, or other issues.

The most common flaw with the screens we tested is that they introduce a blue tint to the projected image.

The most common flaw with the screens we tested is that they introduce a blue tint to the projected image. A bluish-white looks brighter than a neutral D65 white (the correct white point for home video content). If you see two screens side by side and one looks brighter, you often can't tell which one is "correct," but your eye will tend to prefer the brighter one. If you’re looking at one screen by itself, your eyes and brain will adjust to the incorrect image and assume it is correct. This blue tint was present in all the cheaper screens, which use similar materials, so one with a minimal amount is what we looked for. Check out What is accurate? below for more info.

This screen has comparable performance to those costing seven times as much, plus it's easy to set up and install. It's a huge bargain for what you get.

The Silver Ticket STR Series screen is the best because it has good image quality that introduces only a small amount of tint, it's easy to build and very affordable, and it just plain looks nice. Unless you want to spend a lot of time on a DIY project, or are willing to spend a ton more money, you simply aren't going to do better for a basic screen than the Silver Ticket.

At its current price of about $200 for a 100-inch 16:9 screen with white material, the Silver Ticket is the cheapest overall option tested for a prebuilt screen, but it performs as well as options that cost up to seven times as much. Moving up to a 120-inch model adds $50, and there are many other sizes available from 92 inches up to 200 inches. It is also available in 2.35:1 aspect ratios for people who want the CinemaScope experience at home.

The image on the Silver Ticket is very good for not only its relatively cheap price, but also any price, period.

The image on the Silver Ticket is very good for not only its relatively cheap price, but also any price, period. With content through the Epson, the screen does a very good job of showing the detail and texture in a 1080p image. The material itself has neither sparkles nor hot spots during viewing, and it has a very wide viewing angle. It does introduce a bit of blue tint to the image, but less than other screens do. To most people it will not be visible. It maintains the contrast ratio of the Epson projector and looks much better than any cheaper material. The Stewart screens are the only ones made of materials that offer a clear step up from the Silver Ticket line, but they also cost seven to 12 times as much.

In real world use, the Silver Ticket just looks good. While watching Skyfall or Harry Potter or Star Trek on it, I never felt that I was missing anything from the picture. The images consistently appear sharp and show the texture of a suit or the wrinkles in skin. Even while sitting at the edge of the screen, I was still able to see a very good picture void of any additional color shift. The Silver Ticket screen produces an impressive image, and I'd be happy to recommend it to friends and family.

Assembling the Silver Ticket is also an easy task. The top and bottom rails are in two pieces to make shipping easier, and putting them together is not hard. It took me 30 minutes total to assemble the screen, which is one of the quickest times of any screen tested.

I didn't need help from anyone else to build or hang it, proof that it can be done solo. The rod tension system keeps the screen taut, and you won't be caught cursing and sweating heavily while building it (which cannot be said about every screen project).

Once the screen is hung on the wall there is no visible flex in the top or bottom rail, and it looks well made. By comparison, the Elite Screens SableFrame model costs more for the same size and offers similar performance, but I ended up with bruised thumbs after spending almost three times as long to build it. The result was similar, but it took more effort and time to get there.

As far as objective measurements go, we made more than a thousand measurements per screen and have consolidated the data into a table below. We go into further detail in the Lots more data section for those who are interested. While some screens measure better than the Silver Ticket, they are either seven times more expensive or time-intensive DIY projects, which most people aren't up for.

I calculated a gain for the Silver Ticket of around 0.95 compared to our NIST reference measurement, which is all you need for a modern projector. Though, it should be noted that it falls short of its claimed gain of 1.1. It also had exceptional color accuracy.

Error levels between the projector (reference) and the screens. An ideal screen will produce the exact same numbers as the reference. Any difference means the screen is affecting the color of the reflected image. Numbers use the Delta E 2000 formula, where lower is better. Measurement data from Calman 5.3.6 provided by Portrait Displays.

For its price, the Silver Ticket provides little reason to build your own screen instead of buying one that you can assemble yourself and hang in less than an hour. Building your own screen with blackout cloth, wood, and felt can easily cost $100 if you already own all the tools you need (staple gun, saw), and it can't be taken apart later or moved easily. The small savings aren't worth it in comparison, especially when the image quality will likely be worse overall.

The color of the Silver Ticket is not perfectly neutral. The Goo Systems GooToob is more neutral, as is our reference Stewart screen. But everything else we tested, including my personal $2,700 screen, had a color tint equal to or worse than the Silver Ticket's. The tint it introduces is low enough that, with most projectors, it won't be noticeable to the naked eye. I paired it with my calibrated projector and had no color tint issues while watching real world content.

When the frame sits flat on the ground, there is a bit of flex in the top bar. Companies like Stewart and Screen Innovations use single-piece top and bottom bars, but those are far more expensive to buy and ship, and are almost impossible to get down some staircases. Once hung on the wall, the frame of the Silver Ticket is perfectly flat and this isn't an issue.

When the lights are up and I look in the lower-right corner, the screen material isn't perfectly taut. When watching a movie or TV show, I never noticed it, but I did with the lights on. Most of the other assembled screens don't suffer from this, but I never saw it during an actual viewing, so I’m really not concerned about it.

I’ve been using our pick since fall 2014, and it has held up just fine. I’ve used multiple projectors with it without an issue, taken it down for a move, and built it back up again with no problems at all.

The Sable Frame 2 screen's performance is comparable to our main pick, but it tends to cost a little more and it's harder to assemble.

*At the time of publishing, the price was $320.

If the Silver Ticket is sold out, the Elite Screens SableFrame 2 is a suitable replacement. It sells for a bit more money, and the assembly is harder, but the screens' performance levels are very close. The surfaces of the screens are close to identical, the main difference being in how the screens attach to the frames. The Silver Ticket comes together much more easily, and although the material doesn't look as taut as Elite Screens' model during use, there is no functional difference.

The GooToob offered the best measured performance of any screen we tested, regardless of price, but is a huge pain to install and nearly impossible to move.

May be out of stock

If you are OK with a semi-DIY approach, Goo Systems' GooToob system delivered the best color accuracy of any screen material we tested. The package includes a rolled sheet of paper that can make a screen as big as 128 inches in a 16:9 format. If you want something smaller, or even a different aspect ratio, you can trim the screen to a more appropriate size. Everything you need to attach it to the wall is included, along with gloves for handling it and a felt border for the edge.

Once I had it up, the GooToob presented an almost flawless image...[but] for many people it won't be the best pick because it can't be easily installed alone.

Once I had it up, the GooToob presented an almost flawless image, with practically no color shift, an even gain (0.95 as measured, very close to the 1.0 it's rated at), and a very pleasing surface overall. It offers up a screen surface that even the most critical viewer would be happy with.

It won't be the best pick for everyone, however, because you can't easily install it by yourself. You also have to attach it to the wall, so if you move to another house or even change the location of your projector, it will mean starting all over (and transferring it to a new wall is not easy). It costs the same as the 120-inch version of the Silver Ticket and offers a better image, but it is harder to set up and install.

We pulled out far more data from the Calman color measurement software than just the numbers presented above. Everything is compared to the light directly from our reference projector, the Epson 5020UBe, calibrated off the lens using an i1Pro Spectrometer. Calibrating directly from the lens prevents the screen or room from interfering with the measurements and shows what the projector can actually do. The RGB balance of the projector can be seen below. What we want is every bar to be at 100 with as little deviation from that as possible.

Charts below show the RGB balance for the StudioTek 130, then our favorite overall screen, the Silver Ticket, and for comparison the Wilsonart Designer White, one of the DIY materials.

As you can see, the Stewart tracks very close to the Epson projector, while the Silver Ticket adds a blue tint to bright images by absorbing some red and green light, but this isn't really noticeable to the naked eye unless you have the reference screen next to it for a direct comparison. The Designer White, on the other hand, adds a lot of blue that's easy to see with the naked eye. The screen surfaces are actually changing the image from the projector, so an image that might be accurate out of the projector is no longer accurate once it hits the screen. This is only looking at the grayscale, but similar issues happen with color, as we’ll see.

Here is the chart for color saturation errors for the Epson projector. This measures the six primary and secondary colors at 10 brightness intervals to see how well it displays different shades of those colors. This gives us 62 data points, including black and white, to measure accuracy. With this chart we want every bar to be as low as possible. Any measurements less than 3.0 (indicated by the green line in the charts below) are considered invisible to the naked eye, so if we stay below that it should look perfect.

Aside from an issue as it reaches 100%, these numbers are right where we want them to be. Everything coming out of the Epson lens has an error level so low that you cannot see it with your eyes. Below are the results for the StudioTek 130, the Silver Ticket, and the Wilsonart. Measurements for the GooToob paper are at the bottom.

Again, the Stewart has no equal when it comes to a regular projection screen for color accuracy. It is the most expensive screen in the testing, but it does measurably and visibly outperform everything else. The Silver Ticket has larger errors, but very few of them get close to the green line that indicates a visible error. On the Designer White there are clearly visible issues in cyan all across the spectrum, and visible errors on the lower percentage saturations in other colors. The GooToob is also effectively perfect here.

It is important to keep in mind that our starting point here is a projector calibrated with a $2,500 video processor, $3,000 in equipment, and $1,500 in software. Most projectors start out closer to the 3.0 line—usually past it—than at the low level we did. The errors introduced by the screen are going to compound with inaccuracies in the projector, which will cause more colors to look more incorrect than they did in our testing (which started with a best-case scenario).

Since most people do not calibrate their projector but, hopefully, use the most accurate mode mentioned in reviews of it, having a screen that doesn't alter that image (i.e., make it worse) is important. A calibrator with tools can fix the projector to account for the tint of a screen, but that's an extra $300 to $500 expense after you buy the screen.

As far as gain goes, the Elite CineWhite and Stewart Cima Neve come in at 1.1 gain, compared to our NIST reference, while the StudioTek 130 is right at 1.3. The lowest gain is the Behr Silver Screen paint, at 0.48, and the Screen Goo paint, at 0.66. The paint numbers are very low and you’ll need a bright projector for those to look presentable. The other gains are all close enough to 1.0 or beyond that with any current projector they will look very bright.

When we talk about an accurate projector, we are targeting a specific level of performance. When you think of HDTV or Ultra HD, you likely think in terms of pixel count. While this is the most recognizable specification for these technologies, there are many more behind them—color, for example, and others.

The importance here is that you see on your screen what the creators of your content intended you to see. Look at the original Matrix film which has a green tint to the virtual world scenes and a more saturated, natural color scheme to the real world images. With an incorrect image, storytelling cues like this are lost, since you don't see what the director had intended you to see. Call us video purists, but we prefer accurate images over inaccurate. Since the Silver Ticket is very neutral and costs less than the competition, there's no tradeoff. If you want to adjust your projector to look differently from accurate, the Silver Ticket will reflect back to you whatever you want.

HDTV color temperature and color points (explained below) are defined by the Rec. 709 specification. Among the specifications we target with an accurate projector are:

A screen has to enable a projector that is accurate, to remain accurate. If it throws off the gamma, adjusts the white point, or can't reflect the full color spectrum, then it will be incapable of producing an accurate image no matter what projector you have.

That's one of the main reasons we like the Silver Ticket and GooToob—they’re inexpensive, but leave the image from the projector alone (at least more than most inexpensive screens).

The Stewart Cima line is the company's most affordable line, and the Neve 1.1 material is the closest product to the Silver Ticket. It also measures superbly but costs about seven times more than the Silver Ticket. The StudioTek 130 has the extra gain and pop that make it look better in use, and the GooToob offers almost identical performance at a fraction of the cost. It is a very good screen, but others offer more value or better performance.

The Screen Innovations SolarHD 4K material is a direct competitor to the StudioTek 130 and my personal screen. In measurements it comes up short compared with the StudioTek, with a blue tint, while costing almost as much. The measured performance isn't good enough to recommend it over our choices. If you want a premium screen, you should pay the extra for the StudioTek 130.

Screen Materials from Carl's Place are the top sellers at Amazon, but there are better options. The blackout cloth looks very poor when compared with a real screen material, and has a low gain and a noticeable texture to it. The FlexiGray material adds too much of a blue tint, even more than the white surfaces we tested, but does improve black levels. The darker base color makes the blacks from our Epson projector inkier but dims whites and adds that blue tint. The FlexiWhite has similar measurements to our pick, but isn't as easy to setup. You need to build your own frame, using hardware from Home Depot, and it doesn't look nearly as nice and professional as the Silver Ticket does. You get a larger screen, and it will work well outside as it's easy to break apart and move, but I wouldn't put it in my home theater room.

Goo Systems's Screen Goo comes in many varieties. While testing the Reference White, I found it has a blue tint compared with the GooToob, and it's harder to install than a screen. Painting a screen means sanding a wall to be perfectly flat and free of any texture, and then spraying multiple coats of paint. If you don't own a paint sprayer it's another piece of hardware to buy (or rent), and one you might not use again. If you ever move you have to paint the wall again. Hanging a screen leaves just two holes in the wall that are relatively easy to patch. If the performance offered a huge benefit over that of a screen it might be worth the effort, but we don't think it is.

Behr Silver Screen is a paint you can pick up from Home Depot. It is by far the cheapest option. Painting this onto a 2-foot-square section of drywall I found it to be very low gain, offering 40% less brightness than our picks. Unlike some of the other low-gain options, it didn't do much to improve black levels either. The image has a very bad color tint, and it just doesn't impress.

Wilsonart Designer White is a laminate meant for putting on furniture and other uses, but it has found a niche in the home theater world. It offers more gain and pop than the GooToob but has the worst measurements of everything we tested. If your local Home Depot or other store stocks it, you can build a 94- to 96-inch screen for $90 without a border. You add a border and some hardware to attach it to the wall, hassle with everything involved ... and wish you had just picked the easier, higher quality Silver Ticket in the first place.

Some people are using spandex materials for a screen as it is something you can take down easily and is supposedly acoustically transparent for placing speakers behind it. Since we are looking at permanent screens neither of these benefits applied here, so we didn't test it out.

Da-Lite makes screens and is second to Stewart when it comes to top screens for custom installers. Their most affordable 100-inch 16:9 screen with material is close to $500, making it too expensive to compete with our picks, and their high-end materials rival Stewart in price.

W. Jeff Meier, Projection Screen Material Report, AccuCal, June 4, 2014

Projector Screen Discussions, AVS Forum

Thomas J. Norton, Screen Innovations Slate Projection Screen, Sound & Vision, September 25, 2014

Chris Heinonen

Chris Heinonen is a senior staff writer reporting on TVs, projectors, and sometimes audio gear at Wirecutter. He has been covering AV since 2008 for a number of online publications and is an ISF-certified video calibrator. He used to write computer software and hopes to never do that again, and he also loves to run and test gear for running guides.

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