Author:admin

Bumblebee

Bumblebee

For many viewers, myself included, the Transformers franchise jumped the shark with its fifth film, Transformers: The Last Knight, where it tried to combine robots, dinosaurs, and Arthurian lore into a mess of a film that included Sir Anthony Hopkins delivering lines that were frequently cringeworthy at best. That film was panned by critics and received the lowest audience rating of any film in the series—a meager 16% Rotten Tomatoes rating. Due to this, my expectations for Bumblebee were basically non-existent.

But the Bumblebee team decided to do some transforming of its own. This film broke the tradition of having Michael Bay at the directorial helm (though he does retain a producer credit), instead going with relative newcomer Travis Knight, whose previous directorial credit included the critically acclaimed Kubo and the Two Strings. They also went with an up-and-coming writers, Christina Hodson, for the script and story.

Those two changes made all the difference, with Bumblebee scoring big at the box office, bringing in a 93% Rotten Tomatoes rating—the highest of any film in the franchise—and resulting in a movie that has far more heart and story, and far less near-constant frenetic smash-em-up-blow-em-up action scenes. And guess what? When every scene isn’t filled with action, there is more room for story and character development, and more opportunity for the action pieces to stand out.

Also, by primarily focusing on a single robot character instead of virtually every Autobot and Decepticon still in existence, you have a chance to care more about them. Kudos to the design team that did a great job with Bumblebee’s eyes, giving him the ability to express emotion and feeling, further humanizing him.

Bumblebee

The film begins on the planet Cybertron, with the Autobots on the verge of being completely overthrown. As a last-ditch effort, Autobot leader, Optimus Prime, sends his lead fighter and scout, B-127, to the planet Earth in an escape pod to prepare a new base of operations for the Autobots to regroup. B-127 smashes into Earth right next to an Army Special Forces training exercise, and in a skirmish while attempting to escape and battling a Decepticon that followed him, B-127 is damaged, losing his ability to speak, as well as his memory of who he is and his mission. Low

on power and heavily injured, B-127 scans a nearby yellow ’67 Beetle and transforms, where he somehow ends up at a salvage yard before being discovered by Charlie (Hailee Steinfeld). Charlie christens B-127 “Bumblebee” because of the sound his electronic mumblings make.

There are many similarities between the storylines of Bumblebee and the original 2007 Transformers film. In both movies, the human star is an outcast, nerdy high school student. That role was played by Shia LaBeouf in 2007, but this time it’s a female played by Steinfeld. Both kids encounter the discarded and barely functional Autobot, Bumblebee, while searching for their first car, taking him home and then discovering he’s “more than meets the eye.” They both rely on friends of the opposite sex to help them survive and keep Bumblebee’s secret; the bombshell Megan Fox in the original, and Jorge Lendeborg Jr. in Bumblebee. We’ve also got a strong military presence trying to track down and stop the alien invasion in the form of Agent Burns (John Cena), who is given one of the best lines with, “They literally call themselves Decepticons. That doesn’t set off any red flags?!”

Set in the late ‘80s, Bumblebee has a great soundtrack featuring many classics from bands like The Smiths, Duran Duran, Tears For Fears, and A-HA, along with several band shirts worn by Steinfeld that would have been perfectly at home on any student at my high school. Also, without the ability to speak, Bumblebee plays snippets of audio from the radio to communicate, a device that works well.

Bumblebee

Shot on ARRIRAW at 3.4K, Bumblebee is taken from a 2K digital intermediate, not uncommon for heavily effects-driven films. But the image has no shortage of detail, especially in closeups where you can see tons of detail like texture, imperfections, and scratches in Bumblebee’s paint, or individual strands of hair in Steinfeld’s eyelashes. HDR is used to good effect during the night scenes, particularly with explosions and erupting fireballs, or the vibrant green of the Decepticon transmitter near the finale.

My favorite aspect of the video was that the camera style is far more steady and stable, moving away from the near seizure-inducing, rapid blur and jerk favored by the previous Transformer films. The action scenes here are stable and in focus, letting you appreciate all of the robot’s movements and motions.

By far the standout here is Bumblebee’s reference-grade Dolby Atmos soundtrack. This movie sounds fantastic in a well-calibrated home theater, featuring an active mix that fully engages all Atmos speakers, immersing you in the action. Dialogue remains clear and intelligible throughout, no matter how many things are exploding onscreen. Home theater owners will especially love the massive amount of low-frequency impact. When heavy objects or bots crash, smash, collide, or explode, the bass is appropriately weighty, producing frequencies that will rattle your floor and slam into your chest. But far more than just one repetitive bass note, bass here is richly textured and layered, with different amounts of impact and detail according to  the scene. Excellent demo material for sure!

Bumblebee is available for download now at the Kaleidescape store, two weeks before the disc release on April 2.

John Sciacca

Bumblebee

Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as
 Residential Systems and Sound & Vision. Follow him on Twitter at

@SciaccaTweets and at johnsciacca.com.

Ep. 6: Home Theaters are Better Than Movie Theaters

The Cineluxe Hour logo

Hosts Michael Gaughn & Dennis Burger open Episode 6 with a brief discussion of how Dennis’s favorite show, Critical Role, recently made headlines by becoming the most successful video-production Kickstarter campaign ever. Dennis & Mike talk about the impact of alternate forms of production on TV & movies.

 

At 11:28, Cineluxe contributor Andrew Robinson joins the podcast for the first time, accompanied by fellow contributor John Sciacca. Everybody discusses how a home theater with the right gear, properly installed, can easily top the performance of a typical movie theater. But it turns out the biggest contributor to a better-than-movie-theater experience at home might not be the tech.

 

The show wraps up at 39:14, with a quick survey of what everybody’s watched during the past week, which runs the gamut from They Shall Now Grow Old to Love, Death, and Robots.

CLICK HERE TO CHECK OUT MORE EPISODES OF THE CINELUXE HOUR

RELATED POSTS

Home Theaters are Better Than Movie Theaters

Home Theaters are Better than Movie Theaters

Photo by JESHOOTS.com from Pexels

As John Sciacca points out in his recent article, “Are Home Theaters Making Movie Theaters Better?” home entertainment spent more than half a century playing a catchup game with commercial cinemas, at least in terms of technological innovation and quality of presentation. But Wabbit Season has now pretty much undeniably become Duck Season, and home entertainment reigns supreme. Yes, commercial cinemas are making some interesting technological innovations, as John points out. But most of these are limited to a handful of theaters in major metropolitan areas.

 

For most people, a well-built, well-calibrated, well-programmed home cinema system (be it in a dedicated screening room or multi-use home entertainment space), has the potential to vastly outshine the movie-watching experience at the average local cineplex. And while much of this has to do with incredible advancements in the quality of consumer electronics in the

past few years, that’s not the whole story. There’s also a story to be told here about comfort, convenience, and customization.

 

In short, here are 10 reasons why home theaters are now better than movies theaters.

 

 

1) BETTER PICTURE

These days, even a mid-level Ultra HD (or “4K”) display, when properly calibrated and positioned, can give 

you a better and more immersive image than you’re likely to find in your local movie theater. Sure, your neighborhood megaplex has bigger screens working to its advantage, but depending on how far away you sit, a 75- to 120-inch screen at home can fill up just as much of your field of view. And displays this large are pretty close to becoming the norm for better home entertainment spaces. What’s more, you’d have to look pretty far and wide to find a movie theater screen that delivers anything close to the black levels and high dynamic range delivered by a good modern home display.

 

 

2) BETTER SOUND

At least in theory. While commercial cinemas still have the advantage in terms of channel count, let’s face it—you really don’t need 128 speakers in your living room to deliver an audio experience that’s every bit as engrossing as that of a movie theater. What’s more, theater sound has to be balanced for potentially hundreds of viewers. At home, you can tune the sound for the handful of seats that matter most. And today’s advanced room correction systems can make even a somewhat compromised space sound positively cinematic.

 

 

3) BETTER QUALITY CONTROL

Have you ever been to a commercial cinema and complained about an image that was too dim or stretched, or a screen that was soda-stained, or speakers that were blown, only to be greeted with that deer-in-headlights look? The fact is that most movie theater managers don’t care about (or even understand) quality of presentation. At home, you can either

address problems when they arise or, at worst, call your local integrator for assistance.

 

 

4) THE AV EXPERIENCE CAN BE
TWEAKED TO YOUR TASTE

Whether you like your movie sound to be played at reference listening levels, or just a bit louder or quieter than industry standards would dictate, chances are slim that you’ll ever be happy with where the volume knob is set at your local movie theater. At home, you can adjust the loudness to your liking, and even tweak it based on your mood.

 

 

5) THE “WOW” FACTOR CAN BE EVEN BETTER

Back in the day, there was an undeniable theatrical element involved in going to the movies. And yes, most of that boiled down to that highly anticipated moment when the curtains opened or widened to accommodate a Cinemascope film, but still. They used to call it “going to see a show” for a reason. The movie itself was simply the centerpiece of a larger event.

 

These days? Not so much. But home theaters can make movie-watching special in a way that commercial cinemas have long since abandoned. If you have a home automation system, you can dim the lights and draw the shades and maybe even cause the screen to drop down from the ceiling at the press of a button. If you have a Kaleidescape movie server system, these automated events can even be tied to the opening and closing credits of the movie itself—or even intermission. And you can program an entire evening’s worth of entertainment—trailers, cartoons, movies, and more—that can be launched with a single click. Simply put, movie night at home can be special in a way that bopping down to the local movie theater long ago ceased to be.

 

 

6) YOU’RE ON YOUR OWN TIMETABLE

Speaking of intermission, how many times have you missed a few minutes of a movie due to a necessary potty break? That’s not a problem when you’re watching at home. Perhaps more importantly, unless you’re itching to watch

the latest Marvel movie, which is likely to be playing on half the screens at your local multiplex, you’ll likely find that your choice of viewing times is limited to 4:25 or 9:45. At home, you can start the movie when you want.

 

 

7) THE VARIETY OF ENTERTAINMENT IS SO MUCH BETTER

As I alluded to in that last point, even at a megaplex with 16 screens, half of them are likely to be playing the same movie, which greatly limits your viewing options. These days, the rise of streaming services creating their own award-winning movies means that your options are wide open for home viewing.

Want to check out something like Bird Box or Roma? Outside of a few film festivals and a limited theatrical release aimed only at Oscar contention, the only way you’d ever see these films is at home. You could easily argue that Netflix and Amazon are the most innovative and important film studios in existence today, and their works are only available in the home for most people.

8) TWO WORDS: GOURMET POPCORN

OK, it’s entirely possible that my wife and I are weirdos in this respect, but we’re total popcorn snobs. We have our own oil popper, and when it’s time to sit down for a movie we’re likely to spend five minutes simply deciding what kind of kernels to pop. On the rare occasions when we do go to the cinema, the grease-covered cardboard they sell by the bucket is an unappetizing letdown.

 

And hey, maybe gourmet popcorn isn’t your thing. Substitute your own snack of choice and you get the point. Movie theaters have done a decent job of offering more variety in their snacks in recent years, but let’s be honest here: They’re all kinda gross unless you live in a major metropolis. At home, you can snack better, snack cheaper, and snack healthier to boot.

9) YOU GET TO DEFINE “COMFORT”

My wife recently returned from a road trip, during which she went to the movies with a friend of ours who lives up north. She came home raving about the recliners in the cinema they visited, to which I replied, “Were they as comfortable as your seat on the sofa?” The answer, of course, was a resounding, “no.” Still, it’s humorous to me that the notion of comfortable seating in a movie theater is a novelty in and of itself. What’s more, these seats have to accommodate a broad range of opinions as to what constitutes “comfortable.”


Personally, I like a firm memory foam sofa that conforms to my posterior, but isn’t so cushy that I drift off during our annual 12-hour Lord of the Rings Extended Edition marathon. Maybe your tastes lean even firmer, or maybe you’d prefer to sink into the accoutering equivalent of a marshmallow. Either way, in your home theater or multi-use entertainment space, you get to pick the seats.

 

 

10) YOU GET TO PICK THE AUDIENCE

There may yet come a day when commercial cinemas once again reclaim their technological superiority over home cinema systems en masse, but even if they do, I can’t imagine going back to the movies on the regular. And that mostly boils down to the fact that the moviegoing masses are loud, obnoxious, obtrusive, self-centered jerks. When we went to see Captain Marvel a few weeks back, I nearly sprained my shushing muscles. And outside of chains like Alamo Drafthouse, most cinema operators generally couldn’t care less if kids are swinging from the rafters.


Anyone who comes to my house to watch a movie knows they’re there to watch a movie, not gab for two hours straight or check their phones every ten minutes. And you could argue that my rules for movie-watching at home are a little strict, but you know what? Friends and family who join me on my couch for a show always come to appreciate the specialness of the experience.

Dennis Burger

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including high-
end audio, home automation, and video gaming. He lives in the armpit of 
Alabama with
his wife Bethany and their four-legged child Bruno, a 75-pound 
American Staffordshire
Terrier who thinks he’s a Pomeranian.

How Do I Define a Luxury TV?

How Do I Define a Luxury TV?

I’m thinking about upgrading my living-room TV, a five-year-old UHD TV that doesn’t support HDR. The process of choosing a new TV has me thinking seriously about a question that several Cineluxe writers have already attempted to answer: How do I define the term “luxury”?

 

For me, luxury simply means going beyond what you deem necessary in a given purchase. Whether it’s cars or watches or speakers, we all have a standard in our minds of what the base model is, the thing that will get the job done in the manner we want it done. And then there’s the thing that goes beyond, the thing that delivers a higher-quality experience that may not be necessary but is oh so delightful.

The standard is different for each person, which means the luxury is different for each person. I’m generally a frugal (okay, cheap) person. When I shop, I tend to start at a base model and actually talk myself down to something less. The plus side of that approach is that the luxury bar isn’t set terribly high. Sometimes just buying a brand name feels like an indulgence.

 

But that mentality goes right out the window when we’re talking about TVs. I’ve been a video reviewer for over 10 years, so I’ve had the good fortune to spend time with the creme of the crop in the TV category. I’ve had a taste of the best, and it has definitely raised the baseline standard of what I demand from a TV.

 

I won’t buy a new TV that can’t deliver a true HDR experience—by that, I mean it must have a great black level, above-average peak brightness, and support for both HDR10 and Dolby Vision. And since manufacturer review samples tend to be 65-inchers, I’ve grown accustomed to that screen size—anything smaller just won’t cut it.

 

Those requirements already set a baseline that’s higher than what the average person deems necessary in a TV, which is causing quite the internal battle between my inner cheapskate and my inner videophile over what’s essential in this purchase.

 

The (ahem) frugal side of me is leaning toward a midrange 65-inch LED/LCD TV—something with a local-dimming full-array LED panel and a respectable amount of peak brightness. As we discussed in a recent podcast, the performance of these midrange TVs has gotten so good 

that the vast majority of people will be truly blown away by the picture quality. My mind knows that these are very good performers that have the features I demand. They check all the right boxes. It’s a no-brainer.

 

But my heart has something else to say on the subject. It longs for the luxury of the far pricier OLED TV. I know rationally that, from a features standpoint, an OLED TV doesn’t really bring anything more to the table than those midrange LCDs. And while its performance is certainly better, it’s not two or three times better, which is how much more you’ll pay for a similar screen size—and that’s if you go with the “budget” OLED option. The true luxury purchase would be a flagship model like LG’s Signature W8, whose picture quality is essentially identical to lower-priced models in LG’s line. You’re paying for the sex appeal.

 

Ultimately, luxury lives on a sliding scale that’s determined entirely by our personal experience. Once you’ve experienced the Nth degree of performance and design—be it in a TV, a speaker, a control platform, or even a lighting system—your baseline is bound to shift.  You may know you don’t really need it, but it’s hard not to want it.

Adrienne Maxwell

Adrienne Maxwell has been writing about the home theater industry for longer than she’s
willing to admit. She is currently the 
AV editor at Wirecutter (but her opinions here do not
represent those of Wirecutter or its parent company, The New York Times). Adrienne lives in
Colorado, where she spends far too much time looking at the Rockies and not nearly enough
time being in them.

Creating Rayva: Savvas Stamatopoulos

Creating Rayva: Savvas Stamatopolous
Theo's Corner

In my previous two posts, Cineluxe editor-in-chief Michael Gaughn talked to engineer Paul Stary
and me about our efforts to re-engineer the early Rayva theater designs in order to turn them into
a product that can be economically manufactured, quickly delivered, and easily installed. In this
installment, Michael talks to Rayva’s operations manager Savvas Stamatopoulos and me about
how Savvas 
cataloged every element of the Rayva designs and created a software system that
allows Rayva to respond instantly to orders placed from anywhere in the world.

—T.K.

 

 

Theo Kalomirakis  Now that the engineering phase is winding down, Paul’s role is diminishing. Everything now moves into the real world, and that’s where Savvas keeps control of the process. He is now preparing us for actual orders whether the order is here, in India, in Angola, or in Russia. As the business grows, Savvas will be the overall coordinator between individual project managers that will have to be hired for other parts of the world.

 

Michael Gaughn  How does Savvas’s work relate to everything we discussed with Paul—about the re-engineering of the wall panels, etc.?

TK  Savvas’s job was to study all the panels needed for a room, and compile an Excel spreadsheet that listed, for example, how many panels were needed for the Illuminations design [shown above] in a small-size room, how many were needed for Illuminations in a large-size room, and so on.

 

Small rooms have three panels on the wall. Medium rooms have four panels. Bigger rooms have five panels. The price of the theater increases based on the number of panels because you have more components. Since we have 12 designs available for 12 room sizes, we had to come up with 144 templates.

 

Savvas Stamatopoulos  You also have to take into consideration the ceiling height and the position of the door, whether it’s on a side wall—

 

TK  It was a very complex process.

 

SS  Ultimately, we ended up with 500-something different room templates.

 

TK  The bottom line is, Savvas needed to figure out what happens in each room based on its size and its design. So he spent a few weeks recording every single item we see in a theater on a spreadsheet—not from the perspective only of a particular design, but from the perspective of all the designs.

 

And that plays out on three levels, the first level being the overall design. The second level is, how many panels are in this design? And with something like illuminations, how many fixtures like light sculptures are involved? The third level is determining how many panels there are. How many wood parts do they contain? How many screws? How many wall brackets?

 

So Savvas created a very comprehensive chart of the parts, which is layered so you can collapse it and see only the overall design, the room. Expand the chart a little, and you see the panels in the room. Expand each panel even more, and you see the wood parts of the panel. Expand it even more, and you see the metal parts.

Creating Rayva: Savvas Stamatopolous

ABOUT SAVVAS STAMATOPOULOS

Savvas was born in Piraeus, Greece in 1977. He studied Shipping and Logistics at the Business College of Athens and at London Guildhall University.

 

He began his professional career in 2000, working for a couple of shipping/forwarding companies in Piraeus. In 2001, he became involved in his first major business project, setting up and managing a 3PL (third-party logistics) company whose main purpose was to provide logistics services for the Greek subsidiary of one of the six oil and gas “supermajors,” a collaboration that lasted until 2011.

 

In 2012, he co-founded a traditional milk and dairy products firm, where he was the executive manager until 2018, when the company merged with a large trading and importing firm of the sector.

 

Savvas joined the Rayva team in the summer of 2018, where he is responsible for creating the software to list and track all of the elements in the company’s theater designs. He also manages project costing and operations.

 

He enjoys playing music, free diving & spearfishing, and spending time with his dogs as a way to balance the stressful everyday life of logistics management.

This was a very comprehensive process of analyzing the product from the point of view of codifying everything so we could create list of parts that can go to a manufacturer. That is what Savvas has been doing before even Paul came onboard.

 

MG  Where are you in the process right now?

SS  At the moment, we’re trying to find the sweet spot between an artistic creation and an industrial product, because these rooms were designed by some very gifted designers and artists here in Greece—in my opinion, they are works of art.

 

You know art, by definition, usually doesn’t take into consideration cost, or the logistics of production, the ease of installation, transportation, storage, and so on. So we need to find ways to facilitate these things, and to turn these designs into an industrial product without making any compromises to the artistic aspect of the theater.

 

This is what we’re doing right now with the help of Paul, who’s an excellent engineer. He is breaking each aspect of the theaters into the smallest possible parts so we can ensure that they’re always the same and easy to to install. And so I can know beforehand what the delivery time will be, how much it will cost, and so on. He is re-engineering every aspect of the theaters, because for an industrial product to be successful you need to be able to produce it for the lowest possible cost. This is our main challenge right now.

 

I am inputting each part into MRP [material requirements planning] software. Each theater consists of many, many parts such as wood frames, metal brackets, magnets, and wiring conduits.

 

When someone says they want to have a certain design for a certain room size, we input it in the system and it shows us exactly what are the materials we need from the last screw to the biggest part, how much it will cost, how long do you need to be ready, and so on.

 

MG  If I’m understanding the process correctly, the wall panels are the one constant in every design.

 

SS  Yes, these panels are the key elements in a Rayva theater. What is different is the fabric that goes over the panel. In some designs, the fabric is printed with a drawings or pictures. And in other designs, there are custom design elements attached to them.

 

TK  Basically, the panels as an item are always the same.

 

SS  The frame is more or less the same.

TK  We have about 12 panel sizes, but it’s the same item, just the size changes. And then it gets a cover. And on top of the cover, we have design elements. These are the three elements: The panel, the fabric that covers them, and the artwork that goes in front of them.

MG  Right. So I’m hoping you can fill me in on some of the steps along the way. For instance, Antonia Papatzanaki’s designs use light sculptures [shown at right] that would be considered works of art.

 

TK  Yes.

Creating Rayva: Savvas Stamatopolous

MG  What impact does that have on the whole engineering and reproduction process because when you’re building something more utilitarian like a car, you’re not dealing with artists and individual sculptures?

 

TK  Each artwork is addressed as an individual element that needs to be engineered in a different way than the artist intended. For example, Antonia’s fixture is 50 pounds. It would be difficult to install something that heavy. So, Paul re-engineered it to make it easier to manufacture, easier to mount, and much lighter than it was. Originally, the support for the sculpture had to go through the panel and be attached to the wall because it was so heavy the panel couldn’t support it. But now, that sculpture is so light that it can be mounted on the panel itself without having to create a hole in the panel in order to reach the wall.

 

Every artwork is engineered to maintain its integrity, because we want to make sure that no matter how we re-build it, it looks like what the artist envisioned.

 

MG  Who acts as the intermediary between the artist and Rayva?

 

TK  I receive the artwork from the artists. The artwork then goes to Paul, who re-engineers it. And when it’s finished, I show it to the artist so they sign off. We don’t want the artist involved with the engineering process because we have a very specific way of creating consistency and unanimity in how we engineer things.

 

MG  Does that pose any unique challenges? Especially, considering the diversity of the kind of art you’re incorporating.

 

TK  The only limitation is the imagination of the engineer. We’re not talking about developing a rocket that goes to the moon. It’s not that complex—it’s an artwork. If you have an engineering background, you can look inside the hood—I’m using the same analogy for the artwork that I used for the re-engineering of the wall panels—and you find out what it is.

Creating Rayva: Savvas Stamatopolous

For example, we had a challenge with the Origami design. You’ve seen the fabric that covers the Origami triangles, right?

 

MG  Yes.

 

TK  I didn’t like how the fabric was folded at the edges of the triangle; it wasn’t clean. So Paul said, “Are you opposed to having a paint that looks 

like fabric? That way we don’t have to deal with the wrapping methods for the ends of the fabric.” I said, “No.” So, he found a paint by DuPont that’s sprayed. It’s the color of the fabric, and it has the texture of velvet, of linen.

 

In the process of re-engineering, we’re addressing issues we have with the original artwork from the perspective of, “How do we simplify it? How do we make the process faster? And how do we change the method of fabrication without betraying the concept of the artist?”

 

This is the beautiful thing about having an artist working with an engineer—it’s a collaborative effort. If you work with smart people, let them make creative decisions. What I find exciting and exhilarating about the development process is that I’ve learned to trust people.

 

When I was a custom designer, everything had to come to me to be approved because it was a creative decision, quote unquote. I had to have the last word. I didn’t allow designers to make the big decisions. I made them myself.

 

I didn’t trust people before. But this time I do.

Theo Kalomirakis is widely considered the father of home theater, with scores of luxury theater
designs to his credit. He is also an avid movie fan, with a collection of over 15,000 discs. Theo
is the Executive Director of Rayva.

Can the Beauty Industry Save Specialty AV?

Can the Beauty Industry Save Specialty AV?

What if I told you the sky wasn’t falling. That AV enthusiasts weren’t dying off in droves due to old age and that young people didn’t only value convenience over quality? What if I told you that? Would you believe me?

 

As a fellow member of the AV press for going on 20 years now (OMG I’m freakin’ old), I have been party to the slow decline of what was once a flourishing hobby. For the past few years, specialty rags and manufacturers alike have been arguing over just what exactly the cause of their demise has been. Was it the housing bubble and subsequent financial crisis? China? Or Amazon that killed specialty AV? While compelling arguments could be made linking all of the above to the current sad state of affairs, I argue another point—that specialty AV continues to die by its own hand.

 

The problem with specialty AV—of which I lump audiophiles and home theater enthusiasts alike into the same overarching category—is that for all its so-called technological advancements, it lacks the imagination to go where its customers are. Ahh, but Andrew, you’re going to say the Internet, and plenty of companies sell their wares on the Internet. To which I say, there is a very big delta between making your products available and “selling” via the Internet. A lot of companies do the former, but outright fail at the latter.

 

Going back to the AV press for a moment, they are or continue to be destined to fail because the entire business model rests upon the same handful of people continuing to support the same handful of topics that are then devoured by the same handful of enthusiasts. Much like a snake eating its own tail, the “meal” can last for quite a while, so long as there are no distractions and the snake is allowed to just keep on eating. The problem is, over time, the snake will tire and either stop 

eating and choke to death, or spit out its own tail and slither on to greener pastures. Both scenarios are occurring, in real time, before our very eyes, as once great bastions of the medium continue to publish on borrowed time. Stereophile and Sound & Vision, I’m talking to you.

 

So where is this greener pasture? Well, it’s on the Internet, but it doesn’t take the form of an online store or the like. It’s in the power of video—more specifically, brand influence and marketing. My fellow writer, Dennis Burger, recently wrote an article entitled, “D&D and the Decline of Traditional Media,” in which he talks about how viewers no longer need to rely on the major networks or studios for their personal entertainment. Beyond entertainment, content creators are 

showing advertisers, manufacturers, and consumers alike just how much power they hold and how much sway over the conversation and our buying decisions they have. In turn, we’ve begun to realize the same. For together with our favorite influencers or personalities we can collectively prop a company up . . . or tear it down.

 

Case in point, the makeup/beauty community all but lives on YouTube, and as a result influencers on that platform churn out broadcast-quality content regularly, turning teens and young adults into millionaires and celebrities. Any one of these YouTubers can make or break a product in a single video—be it sponsored or not—and if they “make it,” the rewards are otherworldly. We’re talking millions of dollars earned in the span of minutes.

 

Now, you may be thinking audio/video is not makeup, and you’d be right, but in some ways they’re one and the same. Both genres play heavily on our emotions. Both try and sell you a lifestyle. Both can get very expensive indeed. But one is inclusive. The other resists change at every turn. Care to wager which is doing better?

 

This is the difference between making your wares available on the Internet and truly selling, in earnest, on the Internet. So to bring it back to my opening statements, it’s not that the sky is falling, and that specialty AV is dying; it’s just that those in charge have failed to read the tea leaves in time to save themselves. But rest assured, despite the establishment’s best efforts to kill it, specialty AV will live on. And the brands that start aligning themselves with other brands, personalities, and influencers now will be the ones left standing when the dust settles.

Andrew Robinson

Andrew Robinson is a photographer and videographer by trade, working on commercial
and branding projects all over the US. He has served as a managing editor and
freelance journalist in the AV space for nearly 20 years, writing technical articles,
product reviews, and guest speaking on behalf of several notable brands at functions
around the world.

They Shall Not Grow Old

They Shall Not Grow Old

By now, you’ve no doubt heard what a technological marvel Peter Jackson’s WWI documentary They Shall Not Grow Old truly is. On the off-chance that you haven’t, what sets this important film apart from previous such efforts is that Jackson and his team took hundreds of hours of raw footage from the Imperial War Museums’ film archives, cleaned it up, colorized it, and used video processing technology to transform the choppy, hand-cranked stock into smooth 24-frame-per-second film. That fact alone is what originally drew me to this documentary, although I never had the opportunity to see it in its brief run in American cinemas.

 

Despite that—despite having watched all of the behind-the-scenes material I could get my hands on, despite having seen many an A/B comparison between the stock footage and the restored film—I wasn’t quite prepared for the emotional impact 

trailer

behind-the-scenes documentary

transition to color

of this technological wizardry. There’s a scene, about 25 minutes into the film, in which the grainy, torn, jerky black-and-white transitions into artfully colorized, naturally fluid high-definition video. In that instant, a switch flips in your brain. The historical characters on the screen suddenly become living, breathing men. Or boys, to be more precise. They magically transform from flat artifacts to three-dimensional human beings. And the psychological impact of that phase transition is equal parts wonder, empathy, and horror.

 

That’s really your first clue that these restoration efforts have nothing to do with spectacle or presentation. The goal here isn’t to make your display come alive with pretty pictures. It’s to bring the men who fought the “the war to end all wars” to life in a way that’s never been possible before.

 

That fact is borne out in every other aspect of the film, most pointedly in the fact that there is no overarching narration here, no real historical perspective. The footage focuses solely on the efforts of the British infantry on the western front, but that’s never explained. Aside from reenacted dialogue created to match the footage, the only voices we hear here are taken from interviews of the survivors of these battles.

 

And the story they tell is a complex one. Yes, we get insight into the horrors they faced. But we also get some shockingly honest recollections 

of pleasant memories. One interviewee describes the early days of the war as something akin to a camping trip. And the dark humor that these men and boys relied on to take the edge off of their squalid conditions permeates the film as well.

 

But more than anything else, what’s shocking about the narration is how blunt the survivors of WWI are in coming to terms with their own experiences in the war. There’s a strange dichotomy that arises from the fact that, for the first time, we as viewers feel that we can relate to these brave warriors, only to have them explain in their own words why any attempt at empathy on our part is ultimately futile, because the only people who truly understood them were their own brothers-in-arms.

 

At any rate, for all of the fuss that I and others have made about the technical aspects of the film, it may come as a surprise that it’s only being released to the home in 1080p, not 4K with HDR. After seeing the film, I can understand why. Despite the impressive cleanup job done to the footage, we’re still talking about 100-year-old film here. There almost certainly weren’t any additional pixels to be extracted from the source material. And the colorization, while truly stunning, always errs toward the side of subtlety. A wider color palette would simply be wasted here, driving up the price for no good reason.

 

What’s more, even in HD, you can see some occasional imperfections introduced by the restoration process: Skin sometimes looks waxy, eyes and mustaches occasionally morph and jump in a really wonky way as the computers try to recreate frames that never existed or were damaged beyond repair, and occasionally the textures are a little off. That’s not a criticism, mind you, especially given that Jackson and his team made a 140-minute film on a budget allocated for thirty minutes tops. (They also restored a total of 100 hours of footage for the Imperial War Museums, pro bono.) It’s simply to reiterate that you shouldn’t view They Shall Not Grow Old as an AV demo.

 

But you should enjoy it on the best home cinema system possible, nonetheless—especially to appreciate the work that Jackson et al. did in recreating the sonic landscape of the war. The DTS-HD Master Audio 5.1 soundtrack accompanying Kaleidescape’s release of the film does a wonderful job of complementing the video in its efforts to bring this old (silent) footage to life.

 

Also accompanying the Kaleidescape release is an important bonus feature that seems to be missing from the Vudu release: A 28-minute interview with Peter Jackson conducted at the BFI London Film Festival. The personal and historical perspective that this interview brings to the table is welcome, but it isn’t necessary. The film really speaks for itself.

Dennis Burger

They Shall Not Grow Old

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including high-
end audio, home automation, and video gaming. He lives in the armpit of 
Alabama with
his wife Bethany and their four-legged child Bruno, a 75-pound 
American Staffordshire
Terrier who thinks he’s a Pomeranian.

What Makes a Projection Screen Luxury?

What Makes a Projection Screen Luxury?

The natural followup to my post “What Makes a Video Display Luxury?” is to talk about projection screens. There is a reason why projection systems—whether front or rear—are often referred to as “two-piece,” because the projector and screen play near equal roles in delivering the best image quality possible.

 

Fact is, no matter how fantastic your projector is, the image you‘re watching is reflected off of a screen, and an inferior one will rob a projector of its maximum performance potential by actually introducing artifacts or color shifts to the image or by just not delivering all the detail and resolution the projector is capable of.

For some assistance with this, I reached out to Robert Keeler, Vice President of Sales at Stewart Filmscreen. Stewart has been building high-performance screens for the luxury commercial, professional, and home cinema markets for the past 71 years, and is widely regarded as a leader in the premium screen category.

 

BETTER BUILD QUALITY

Like any premium product, a luxury screen will exhibit better build quality. This means frame corners that meet perfectly and screen material that’s tensioned to remain perfectly flat. A fixed screen (as opposed to a motorized model that rolls up and down) will have a velvet-like coating around the frame to absorb stray light and enhance contrast, and motorized models use quieter motors. And, since the screen is  the most visible part of most theater systems, it’s important to have one that looks good whether the lights are on or off. 

 

While not part of build quality per se, luxury screen systems also offer more ways to interface with advanced control systems, say either via contact closures, relays,

infra-red, RS-232, or IP. This ensures that the screen can accept the correct cues from, say, a Kaleidescape system when you’re switching between movies that have different aspect ratios. 

 

MASKING SYSTEM

Speaking of aspect ratios, the best luxury projection screens incorporate masking, which is black material that closes off, or “masks,” the unused screen area so just the projected image is visible. This eliminates any distracting white space around the image.

 

According to Robert Keeler, “The majority of [TV and projection] screens sold are 1.78 to 1, 16 by 9 aspect ratio, so we are used to seeing black bars either on the top and bottom or the sides of the image depending on the content aspect ratio. As good as projectors are getting, they are still widely based on a 16 by 9 chipset, so content with any aspect ratio other than 16 by 9 will have visible black bars showing.”

 

With front projectors, these black bars aren’t truly black because the projector is emitting some stray light. This ends up lowering the contrast ratio of the image. So having masking to cover these unused parts of the image visibly improves the picture quality.

 

But, aspect ratios can be tricky, since filmmakers choose different ratios based on the look they’re hoping to achieve. (See the diagram below.) For example, older films like The Maltese Falcon or Casablanca are 1.33:1, many documentaries like Free Solo are 1.78:1, some directors prefer using 1.85:1 such as Spielberg for Saving Private Ryan, E.T., and Jurassic Park, and you have “widescreen” films like Lawrence of Arabia at 2.2:1, Star Wars at 2.35:1, Bohemian Rhapsody at 2.4:1, and Ben Hur at 2.76:1.

What Makes a Projection Screen Luxury?

The ultimate solution is a system that can adjust all four sides of the screen image, like Stewart Filmscreen’s Director’s Choice, which uses a 4-way masking system.“This is the epitome of Hollywood,” Keeler says, “with the ability to frame the content so the black bars are invisible and only the content is being shown, whatever the aspect ratio.”

 

SCREEN MATERIAL

Choosing the correct screen material is about more than just its color. Screens use something called gain, which can increase or decrease the amount of light coming off the screen, but can also limit the viewing angle. Also, screens with high amounts of gain can introduce artifacts known as “hotspotting,” where images are brighter in the middle of the screen than at the sides, and “color shifting,” where colors can look different depending on where the viewer is seated. Discussing your media room needs based on its size, seating layout, and lighting conditions with a qualified installer will allow them to guide you in selecting the correct screen material for your installation.

 

“With more than 25 material choices, Stewart Filmscreen can offer end users the right material for the task at hand, rear projection and front projection alike,” Keeler said. “While some may choose not to go with the ultimate cinematic experience, they can at least purchase the very same screen material used by Hollywood directors, post-production departments, colorists, studios, etc.”

 

DIFFERENT SCREENS FOR DIFFERENT CONDITIONS

Say you have a room you use for a variety of activities. Maybe for a lot of gaming or TV watching during the day, but mostly for movie watching at night. Or maybe sometimes you like to watch with the lights up, and other times you want it pitch black. A screen that works best for one of these situations might not be right for the other. One incredibly innovative solution for this is Stewart’s Gemini.

What Makes a Projection Screen Luxury?

“Gemini [shown above] is a unique product that addresses a varied usage model,” Keeler explains. “While masking screens exist to accommodate a variety of aspect ratios, Gemini addresses the variety of usage model. Watching movies [usually] suggests a completely light controlled environment and the content is often in Cinemascope, 2:35 to 2:4. Whereas watching TV suggests the lights are on and the content is 1.78, 16 by 9. The screen material choice for one activity is likely the wrong choice for the other activity. With that in mind, Gemini is a dual-roller motorized screen that deploys a reference-grade material for movies, and an ambient-light-rejecting material when watching TV, giving viewers the best performance whatever the situation.”

 

ACOUSTICALLY TRANSPARENT

Another potential benefit of a luxury screen is using a material that’s acoustically transparent. Initially acoustically transparent screens used lots of tiny perforations to allow sound to pass through, but all of these holes allowed the projector’s light to pass through as well, resulting in a loss of brightness. Also, the holes would actually interact with the pixel structure of the projector and introduce a video artifact known as moiré.

 

While perforation technology has advanced to address these issues, another option pioneered by screen manufacturer Screen Research is to use woven material that allows sound to pass through without being degraded by the screen. Kind of like a special-purpose speaker grille cloth, these screens let you position your main three front speaker channels directly behind the screen just like at a movie theater. The benefits of this are twofold. First, you don’t have to worry about the speaker’s look or style impacting the overall look of the room, which can allow the installer to use a larger/better speaker that otherwise wouldn’t fit with the room’s décor. Second, with the speakers located behind the screen, the audio cues precisely track the onscreen action, perfectly marrying the picture and sound.

 

 

To wrap up, Keeler commented, “There is some science behind integrating the projector and the screen along with the room and viewing habits, and a luxury brand should be able to not only help with selecting appropriate screen size and material choices, but be well versed in other aspects of the project such as audio and video, and the rest of the package and maintain relationships with all sorts of ancillary brands to support the Big Screen Experience.”

John Sciacca

Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as
 Residential Systems and Sound & Vision. Follow him on Twitter at

@SciaccaTweets and at johnsciacca.com.

Why HDR Matters

If you read the reviews here at Cineluxe with any frequency, you’ve probably noticed that we make frequent reference to HDR—high dynamic range–video. By now, it’s a term you’re almost certainly familiar with. But if you’re not really sure what it means, you can be forgiven, because most of the standard marketing materials are confusing and misleading.

 

Here’s a perfect example. This image is representative of the images that most TV manufacturers use to convey the advantages of HDR. Look at that dull and washed out image on the left. Marvel at how it pales in comparison to the vibrant image on the right side of the screen. See how much better HDR is?

Why HDR Matters

There’s just one problem with this. This entire pictured is rendered in standard dynamic range (SDR). That vibrant, lifelike image on the right? Your old, non-HDR display could almost certainly render it with no problem. The image on the left? It’s artificially toned down and muted. This analogy isn’t really helpful. And mind you, I’m not knocking the graphic artist who made this particular example. The entire electronics industry seems content to rely on some variation of this example on every piece of marketing material promoting the advantages of HDR. I’m simply saying that if this is the only sort of comparison you’ve seen, you’re right to be skeptical.

 

So, how is one to understand the actually differences between SDR and HDR video? One easy way is to visit your local tech expert, be it a custom integrator or an electronics store you trust, and ask for a demo.

 

But you can also understand it with just a little math.

 

In short, the SDR video we’ve grown accustomed to for the past few decades, through DVD, HDTV, Blu-ray, and even non-HDR 4K, uses 8 bits of data to represent each primary color: red, green, and blue. What this means is that you can have 256 different shades of each of those colors, which are then combined to create the entire visual spectrum. 256 shades of red, 256 shades of blue, and 256 shades of green combine to create nearly 17 million total shades that can be displayed on a SDR screen, or captured in a video format like Blu-ray.

 

HDR, by contrast, relies on 10-bit (or even 12-bit) color. To understand what a monumental increase that is, understand that 10-bit color allows for 1,024 different shades of red, green, and blue, which when combined result in over a billion different shades onscreen.

 

Here’s a visualization of the difference between 10-bit and 8-bit, when limited to the blue channel alone:

Why HDR Matters

And grayscale, which represents every step along the way from pure black to pure white:

Why HDR Matters

Again, you’re seeing these images presented in SDR, but hopefully they convey the point that 10-bit video, and hence HDR, allows for more subtle variation in color and grayscale. Which means that you see more detail in the shadows of darker images (or darker areas of a complex scene), and more variation in the highlights of brighter images (or brighter areas of a complex scene).

 

But that’s not all. HDR also allows for greater image brightness, and more control over which areas of the image are dark and bright. Your old HDTV might be capable of delivering 300 nits (a standard unit of measurement for brightness), whereas many of today’s better HDR-capable displays can easily deliver 1,000 nits or more. That doesn’t necessarily mean that the entire 

image is brighter, mind you, as if you just took your old HDTV and cranked the brightness control. Turn up the brightness on an old TV, and the blacks get washed out and turn gray. Turn up the contrast to compensate, and what you end up with is an image with stark blacks, bright whites, and not much in between.

 

A good HDR TV, on the other hand, can make a small area of the screen—a flashlight beam, for example—shine with all the intensity of the real thing, while keeping the shadows wonderfully and natural dark, without robbing you of those all-important mid-tones in between.

If you’ll allow me my own dubious analogy, think of it like this: Imagine a piano that only had 22 keys. The key on the left is still low A, and the key on the right is still high C, but there are only twenty keys in between them and they can only be played with the soft pedal depressed. Compare that imaginary hobbled instrument to the rich sonic output of an 88-key Steinway Model D concert grand piano played at full volume, and you can start to really wrap your brain around the differences between SDR and HDR.

 

The bottom line is that good HDR displays do a much better job of matching our eyes’ (and our brain’s) ability to differentiate subtle differences in color and contrast, as well as the natural variations in brightness we experience out in the real world.

 

There is one other confusing aspect to all of this, though: The fact that there are competing HDR standards—which you may have seen referred to as HDR10, HDR10+, Dolby Vision, and Hybrid Log Gamma. You don’t really need to understand the differences between them to understand what HDR is and how it works, but we’ll dig into those competing standards in a future post and explain what sets them apart.

Dennis Burger

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including high-
end audio, home automation, and video gaming. He lives in the armpit of 
Alabama with
his wife Bethany and their four-legged child Bruno, a 75-pound 
American Staffordshire
Terrier who thinks he’s a Pomeranian.

Aquaman

Aquaman

I grew up a fan of DC Comics—which is the other universe outside of Marvel—that includes the Justice League comprised of Superman, Batman, Wonder Woman, The Flash, Green Lantern, and Aquaman. And while I’m assuming Aquaman was given his fair share of ink over the years, I can’t really remember anything about his backstory, or him doing anything stand-out. Thus, his storyline never really resonated with me, and I remember him as just being kind of an “extra” figure who only really came into the action when things moved to the water.

 

Starting with 2016’s Batman v Superman: Dawn of Justice, DC looked to “Marvel-ize” its extended universe of heroes by introducing other characters. In that film, Wonder Woman was introduced and given a fairly significant role, but we were also given glimpses of other heroes, namely The Flash, Cyborg, and Aquaman. Those heroes would ultimately be brought together to make up the recent Justice League film. While B v S was generally panned, we can thank it for at least one thing: It gave us Wonder Woman, a fantastic film that showed our favorite Amazon warrior princess’ origin story perfectly portrayed by Gal Gadot.

 

Looking to capitalize on Wonder Woman’s momentum, DC delivers the second spinoff of its Extended Universe with Aquaman. As is the recent trend, Aquaman was available for digital download in 4K HDR with a Dolby Atmos soundtrack as of March 5, a full three weeks before it is released on physical media.

 

Aquaman was one of those films on my “definitely want to see” radar, but not high enough that I wanted to go through the hassle of seeing it in a movie theater. I thought Jason Mamoa’s portrayal of Atlantis’ rightful heir-to-the-throne, Arthur Curry, in Justice League, was pretty great. He was about as reluctant a hero as possible, wanting nothing to do with the limelight, and spending his days saving wayward fishermen and drinking at the local pub.

 

This movie begins by introducing us to Atlanna (Nicole Kidman), queen of Atlantis who is rescued by a lighthouse keeper. They fall in love, and young Arthur is born. However, Atlanna is forced to return to Atlantis, and she entrusts Arthur’s training to her advisor, Vulko (Willem Defoe). When Arthur learns his mother was executed for having a half-breed son with a human, he swears off Atlantis, and returns to his unassuming life of protecting sailors. Arthur is ultimately drawn into a battle between his half-brother, Orm (Patrick Wilson), who wants the sea kingdoms to unite and declare war on the surface world. To claim his rightful place on Atlantis’ throne and prevent this all-out war, Arthur begins a quest to find the Trident of Atlan. He is aided along the way by Mera (Amber Heard), who ultimately becomes his queen.

 

At 2 hours 23 minutes, Aquaman is not a short film, but there’s no shortage of action and beautiful onscreen visuals and sonic mayhem to keep you engaged along the way. In fact, it almost feels like James Wan’s (Furious 7, Saw) directorial direction was, “That looks great, but is there any way we could work a fight scene or some other bit of action in here?” The result for me was a movie that was entertaining to watch, but a tad short on substance, so that I’m not left remembering a lot of specifics or story in between all the mayhem and destruction.

 

You’ve got to hand it to Mamoa in that the dude sure looks like he can fight. The fight scenes with him really look like he is utterly smashing people with crushing blows, and when he picks up some massive object (say, a Russian nuclear submarine), you have the impression that he could actually do it. Also, who knew Aquaman was bulletproof? Mamoa does a good job injecting some sarcastic humor into the role, and, like Gadot as Wonder Woman, it is difficult to imagine another actor that could have pulled off Aquaman.

 

While taken from a 2K Digital Intermediate, I never felt the image lacked detail. In fact, far from it. Water is one of those things that can really benefit from HDR’s wider color gamut, and the underwater scenes all look gorgeous, with lots of bright and delineated blues and greens. There is a lot of phosphorescence in the undersea kingdoms, with colors that pop off the screen. You also get excellent shadow detail and no banding issues. The various characters’ hair all flows and gently waves around their heads while they are underwater, further adding to the illusion. Closeups have a ton of detail, like the detailing in the characters’ costumes or individual water droplets. There is nary a bit of grain, and black levels are deep and solid. One of the many fight scenes takes place outside in Sicily, and has several long shots where the camera pulls back to see the housetops. It looks fantastic—edge detail is sharp and the HDR highlights really come through.

 

Sonically, the Dolby Atmos soundtrack is quite aggressive and plays wonderfully in a luxury home theater. There is a lot of deep, seismic bass info to keep your subs happy, and the surround channels are used frequently and effectively to put you in the action. The sound design team also uses the height speakers to frequent and good effect, placing appropriate sounds above you like rain and footsteps. Also, I’ve noticed many recent films are over-mixing action into the center channel, which can make dialogue difficult to understand, but I (happily) didn’t have any issues with dialogue intelligibility here.

 

While some of the talk about sea kingdoms and rulers reminded me of the Senate redistricting mess of Star Wars: Episode I, and some of the underwater alien battle scenes were reminiscent of Starship Troopers, and visually I was often reminded of Pandora from Avatar, overall Aquaman makes for a fun night in the home theater. And after raking in over $1.14 billion at the box office, a sequel is already in the works.

John Sciacca

Aquaman

Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as
 Residential Systems and Sound & Vision. Follow him on Twitter at

@SciaccaTweets and at johnsciacca.com.