Projection Screen Paint — Rosco TV Black & TV White (5740 / 5735)

Projection screensPaint a surfaceChoose finish

Rosco TV Paint · projection surface

Paint a seamless projection surface

Turn any wall, cyclorama or flat into a controllable, ultra-matte projection surface. Two Rosco TV Paints, each engineered for camera and projection rather than decoration — deep, even, and joins-free across the whole span.

TV Black 3% reflectanceTV White 60% camera whiteUltra-matteWater-based, low VOC

Step 2 · Choose your finish

Black or white surface?

Which one depends on your priority: maximum contrast and ambient-light control, or the brightest clean white. Most demanding projection surfaces start with black.

Built for projection, not decoration

The projection problems TV Paint solves

Why studios and theatres specify Rosco TV Paint over ordinary hardware-store black or white for a projection surface.

Projection problem

Hotspots & glare on the image

Ordinary white paint has sheen that bounces the projector straight back at some seats as a bright blob.

Rosco fix: Rosco TV White is super-matte and calibrated to 60% reflectance — an even, controllable white with no hot spot.
Projection problem

Washed-out blacks, flat contrast

Standard black paint still reflects stage and ambient light, so projected blacks look grey and the image looks flat.

Rosco fix: TV Black sits at ~3% reflectance — it absorbs stray light, deepening blacks and lifting perceived contrast.
Projection problem

Patchy, uneven cyclorama

Cheap paint goes on unevenly, and cyc lighting reveals every streak and roller mark across the wall.

Rosco fix: Primed with Tough Prime and rolled in two even coats, TV Paint reads as one seamless tone under a light gradient.
Projection problem

Reflections spilling onto camera

A glossy wall throws fixture reflections and light spill that ruin a clean studio look on camera.

Rosco fix: An ultra-matte studio finish kills specular reflections so the surface stays neutral under any rig.

The main choice

TV Black (5740) — ultra-low-reflectance black

At approximately 3% reflectance, TV Black absorbs light instead of bouncing it back. That's what gives a projected image deep blacks and high contrast, and keeps stray stage or ambient light from washing out the picture. It's the go-to for high-contrast projection surfaces, ambient-light rejection, and blacking out everything around the screen.

Spec TV Black 5740
Reflectance Approx. 3% — absorbs stray light
Finish Ultra-matte, zero sheen
Best for High-contrast projection, ambient rejection, black-box & masking
Type Water-based vinyl acrylic · VOC max 50 g/L
Coverage ~28 m² per 3.79 L (~7.4 m²/L)
Dry / recoat Touch-dry ~30 min @ 24°C · recoat 1–2 hr
Size · price 3.79 L · $199

The bright-white alternative

TV White (5735) — the cyclorama “camera white”

TV White is calibrated to 60% reflectance — the top of usable brightness for camera white balance — with a super-matte finish. It reads as a clean, even white under lighting without blowing out to hot spots, which is why it's the standard for cycloramas, infinity walls and bright front-projection surfaces. It looks slightly neutral grey in the tin on purpose: that's “camera white”, not “visual white”. A $15 sample pot lets you prove the finish on your own wall first.

Spec TV White 5735
Reflectance 60% — max brightness for video white balance
Finish Super-matte, reflection-controlled
Best for Cycloramas, infinity walls, bright front-projection surfaces
Type Water-based vinyl acrylic · VOC max 50 g/L
Coverage ~28 m² per 3.79 L (~7.4 m²/L)
Dry / recoat Touch-dry ~30 min @ 24°C · recoat 1–2 hr
Size · price 3.79 L · $199 · sample pot $15

Application

Lay it down right

A projection surface lives and dies on being even and matte. Prime, two coats, and test under your projector.

Prep the surface

Clean, dry, oil-free. Fill and sand — projector light and cyc gradients reveal every defect.

Prime porous areas

Roll Rosco Tough Prime White for a uniform base so the finish lays even across a big wall.

Stir, don't shake

Stir until uniform. Use straight from the tin, or thin with up to 10% clean water if needed.

Two even coats

Brush, roller or spray. Keep a wet edge and overlap strokes. Two coats over primer.

Recoat, then cure

Touch-dry in ~30 min, recoat in 1–2 hr, so both coats go on in a day.

Test with your projector

Light it and throw your actual image before committing the whole surface — confirm the finish under your rig.

Prime first. On new or porous surfaces, Rosco recommends priming with Tough Prime White so colour and reflectance stay uniform across a large wall. Always test a small section under your actual lighting and projector before committing the whole surface.

How much paint will you need?

Coverage calculator

Based on ~7.4 m² per litre (~28 m² per 3.79 L tin) per coat. Two coats over primer is the sensible starting point. Add ~10% for touch-ups and a test patch.

Enter your area

We'll estimate the litres and 3.79 L tins you need.

Estimate only. For a curved cyc, measure width × the full height up and over the sweep. Send us the numbers and we'll confirm coats and quantity.

Buy or sample

Get Rosco TV Paint

Order online, or start with a TV White sample pot to prove the finish under your rig first.

Rosco TV Black 5740
Main · 3% reflectance

TV Black (5740)

3.79 L · $199

View & buy →
Rosco TV White 5735
Alternative · 60% white

TV White (5735)

3.79 L · $199

View & buy →
Rosco TV White sample pot
Try it first

TV White sample pot

~1 m² · $15

View & buy →
Rosco Tough Prime White
Base coat

Tough Prime White

Uniform primer for porous walls

View →
Painting a cyc or studio wall? Send us your wall size in metres — width, height and any curved sweep — and we'll estimate coats, quantity and price. Prefer a ready-made surface? Compare Rosco screen materials →
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Speccing a projection wall or cyc?

Tell us the surface, your projector and whether it's front or rear, and we'll confirm black or white, size the job and quote it.