Cinema screen light level is also known as Screen illumination is measured in foot-Lamberts (fL or ft-L). The industry standard for screen illumination as listed in SMPTE RP 431-2:2011 is 14 (+/- 3) fL

Screen gain is a measure of how much projected light is reflected back from the screen. A screen with gain less than 1.0 reflects less light and a screen with gain more than 1.0 reflects more light compared to a screen with gain 1.0, which is considered as a reference for screen gain measurement. Screens with lower gain tend to have better illumination uniformity across the screen and offer better viewing angles whereas screens with higher gain have decreased illumination uniformity and viewing angles. Most white private cinema theater screens are low gain, and carry ratings in the range of 1.0 to 1.3 gain. Some of today's gray ambient-light-rejecting screens are rated as low as 0.6 gain. High gain screens designed for commercial cinema applications go up to 2.8 or beyond.

ALPD (Advanced Phosphor Laser Display) 4.0 RGB+ is a cutting-edge projector laser light source technology developed by Appotronics that combines laser phosphor plus direct RGB lasers to increase brightness and virtually eliminate speckle. In addition, another advantage is a wider color gamut that exceeds the DCI-P3 standard; it reaches 98.5% of the Rec.2020 color space.

The laser light source lifetime is up to 30,000 hours depending on the mode of operation.

Supra-5000 uses GDC Technology’s innovative All-in-One board for playback of content. It includes a DCI-compliant media server, Integrated Cinema Processor (ICP) and DMD formatter board. The benefits of the all-in-one board are smaller size, reduced costs, higher reliability and lower maintenance.

Yes. Supra-5000 is designed to be installed on the ceiling using Espedeo VM-1140 VESA Ceiling Mount but can easily be installed on a pedestal or shelf.

Yes, there is a single filter along the whole right side of the projector. It is recommended to replace filters every six (6) months depending on the operating environment. The filter is not washable.

Yes. The light engine and lens are designed with IP5X level of dustproof protection for maximizing brightness.

Please Contact Us to report your projector Serial Number and we will provide a quotation and arrange to send the replacement key set.

Yes. Supra-5000 has two lenses, one is 1.28-1.92:1 motorized zoom lens and the other is 0.8:1 fixed lens.

Supra-5000 comes with either a motorized or fixed lens. Normally, it’s ordered with the standard lens which is 1.28-1.92:1 lens. When you place the order, please specify which lens you want.

Yes. The passive Espedeo PM-2000B 3D system is specifically designed for Supra-5000 that the luminous efficiency measures over 30% with customized single beam. Passive 3D glasses are available in adults, kids and clip-ons.

No. Supra-5000 is laser “optimized” to work with Espedeo PM-2000B for double light throughput.

Yes, Espedeo PM-2000B 3D system is compatible with any passive 3D glasses. For the best visual quality, we suggest using Espedeo passive 3D glasses.

Yes. A model with an optional built-in audio processor is available.

A. Supra-5000 is the world’s quietest laser cinema projector at 35 dBA. The 35 dBA is the maximum noise with the full output of the laser.
dBA is the measurement that has been adjusted to consider the varying sensitivity of the human ear to different frequencies of sound.
The key feature of Supra-5000 not needing a hush box is based on the typical sound levels of the dBA scale (40 dBA is a soft whisper - 5 feet away).

Supra-5000 has a built-in Wi-Fi and is operated and controlled through a web-UI using a tablet, laptop or PC. Alternatively, Supra-5000 can be operated via a LAN (CAT5, CAT5e, CAT6 etc.) connection.

No. It requires experienced professionals to install the mount to a ceiling or truss and the projector for safety concerns.

Yes absolutely, please Contact Us for further arrangement.

Exchanges, credit and refund requests must be initiated by email to and received within 30 days of proof of delivery. All returns must be authorized by Espedeo Sales. Approved exchange, credit or refund is less all shipping and handling.
Please return any product(s) requested by Espedeo Sales in the original packing to the origin. For best service and lowest risk of loss/damage to your return, we suggest that it is sent via a trackable shipping method. Returns will be refunded to the original form of payment.

Surround sound cinema audio is, simply defined as sound that surrounds you. It literally means there is a speaker in virtually every corner of the auditorium, projecting superior digital sound to closely duplicate sound in real-life.

5.1 systems first appeared in 1976 but were not popular until cinema surround sound became digital in 1992 with Dolby® AC-3 (Dolby Digital). In 1993, DTS® helped popularize 5.1-channel system with the release of Jurassic Park. The difference has DTS recorded the audio channels on CD, which on playback was synchronized with the film’s time code.

5.1 surround sound (“five-point one”) is often referred to as “true” surround sound. This is because there are six channels to emit sound – five full-bandwidth channels (thus the “5” in 5.1) and one low-frequency effects channel (the “point one”) for deep, rumbling bass tones. All 5.1 systems use the same speaker channels and configuration, having a front left and right, a center channel, two surround channels (left and right) and the low-frequency effects channel designed for a subwoofer.

In 1993, Sony developed the Sony Dynamic Digital Sound™ (SDDS) technology. SDDS is an optical system like Dolby Digital but with 7.1 channels (“seven-point one”) arranged in a unique pattern – five front channels (left, left center, center, right center, right), left and right surrounds and the low frequency effects (subwoofer) channel. 7.1 surround sound is the common name for eight-channel surround audio systems. It adds two additional speakers to the more conventional six-channel (5.1) audio configuration. Unlike 5.1 surround sound, 7.1 surround sound uses a pair of side speakers into the auditorium. 7.1 uses the standard front left and right, center, and low frequency effect (subwoofer) speaker configuration. However, whereas a 5.1 surround sound system combines both surround and rear channel effects into two channels, a 7.1 surround system splits the surround and rear channel information into four distinct channels, in which sound effects are directed to left and right surround channels, plus two rear surround channels.

In 2012, DTS:X immersive sound was launched to further enhance the cinema audio experience. By installing DTS:X-approved equipment and working with the recommended speaker installation guidelines, an immersive sound experience that closely simulates the real world can be achieved in nearly any room configuration. With immersive sound formats, which adds height speakers on the side walls and/or ceiling of the auditorium, theatres around the world can actively adopt object-based immersive sound technology.

This technology provides a superior cinema experience for audiences by offering multi-dimensional audio playback in a 3D space that is both realistic and immersive. To ensure quality and provide flexibility within the DTS:X program, DTS has partnered with industry-leading server, sound rendering and processing companies, such as GDC Technology, an initial partner that lead the integration of DTS:X into theatres. GDC Technology develops, manufactures and sells digital cinema servers and provides a comprehensive suite of digital cinema products, services

Advantages of DTS:X

  • Adapts to the cinema architecture, allowing flexibility in designing a speaker configuration that best fits the layout of the auditorium
  • Offers the greatest opportunity, depending on the situation to reduce cost and lessen the time to retrofit almost any size auditorium from 5.1 or 7.1 surround sound to a rich, realistic 3D immersive sound experience
  • Conveys the fluid movement of sound to create a richer entertainment soundscape than has previously been possible by moving sound objects to and through specific locations within – in front of, behind, above and beside the audience, precisely where the mixer placed them.

DTS:X speaker configurations can be divided into two components:

  • The base layer covers all the speakers in a typical 5.1 or 7.1 cinema
  • The height layer covers the new speakers added to support height effects
  • Front wall speaker minimum elevation requirement

  • Top view showing maximum lateral spacing

  • Side wall speaker minimum elevation and Maximum Lateral Spread requirement

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