In December 2001, two trial products were produced. One of the projection screens has a coating in charcoal black (N2.0) and the other screen has a dark gray coating (N4.0). Around the middle of December, we invited Mr. A. He watched the whale in g Cast Awayh and then moved to the gHannibalh. He gave us a piece of advice whether the brain in "Hannibal," looked tasty. Mr. A said that he personally liked charcoal black (N2.0). But the difference is something like the difference between JBL and Tannoy speakers. If N2.0 is JBL, N4.0 is Tannoy. He said that respective colors have different merits, and it is a matter of one's taste in color.
In either case, he highly praised the screens, which he considered as the Japanese standard white matte projection screen. Mr. AA was nice to say that it was time for him to replace his projection screen at home.
At the end of January 2002, we made a final presentation to Mr. K. We watched "Meet Joe Black" and "Shakespeare in Love," and experimented with the use of a gelatin filter over a liquid crystal projector (a CRT projector was not used). Consequently, he commented that screens should not be colored and projectors and filters should be adjusted so that good images could be obtained more economically. We confirmed that we were right to not color projection screens.
In early February 2002, we gave a presentation of the Pure Mat projection screen with an N4.0 coating at the magazine publisher "S." We compared the projection screen with Sony's #VPH-G70, against Stewart Ultramat #130, and the results were satisfactory. Ultramat's color shifts were very disturbing. Mr. Y, a chief editor, seemed to start feeling uneasy about this weak point of the Ultramat screen. He said that the Ultramat screen picked up noise when smooth images like human skin or a blue sky were shown on the screen, and that, on the contrary, images on the Pure Mat looked smooth. Mr. Y enthusiastically praised the Pure Mat.
