Design

Cineluxe Talks To Paradise Theater’s Sam Cavitt

A sampling of Sam Cavitt’s theaters, showing the wide variety of his work

Lisa Montgomery recently talked to Paradise Theater‘s Sam Cavitt about his advocacy for no-compromise high-performance home theaters in an age of “good enough” entertainment spaces. As you can read in Sam’s “A Great Home Theater is Like Fine Wine,” he feels that the move toward non-dedicated spaces is keeping people from appreciating the extraordinary playback quality contemporary gear can achieve. Sam further develops that theme in his conversation with Lisa, while also discussing the true definition of “luxury.”

—Ed.

How has the perception of home theater changed over the years?

Today, when I tell someone my company designs home theaters, it’s likely they think I’m talking about as little as a single soundbar-style speaker and a big-screen TV in the family room. Home theater has become such a generic term and the products so seriously commoditized that it’s lost much of its significance. People no longer look at home theater as what it can be—what it can bring to their lives—but instead focus on how conveniently and affordably it can be added to a home. Building a special space for the enjoyment of movie viewing is often deemed to be unnecessary.

 

It sounds like home theater has become a more mainstream amenity instead of a luxury item. Is this a bad thing?

If you mean the difference between a commodity and luxury item, the answer is yes. Today the word “luxury” is misinterpreted. The true definition of luxury is something that is so clearly superior to alternatives due to quality of materials,

Sam Cavitt Interview

Sam Cavitt

workmanship, and design that it is inherently of a greater value; whereas a commodity is something that is only differentiated by low price.  Which would you prefer?

 

While mass-market home theaters may have exposed more people to the concept of home theater, it devalues the art, craftsmanship, and difference inherent in a genuine, state-of-the-art private cinema that’s been designed expressly for movie viewing. The general public isn’t being shown the differences between the experiences you get from a home theater “kit” versus the bespoke private cinemas we provide.

 

I notice that you’ve been referring to home theaters as private home cinemas. Is this intentional?

Yes. The level of engineering and design that goes into the theaters we create for our clientele is so many levels above and the results so substantially different from what you can get from “off the shelf” alternatives that we must be differentiated from what is commonly called home theater. The elements of a theater we think are vitally important simply can’t be achieved through easy-does-it 

types of approaches. We want to set ourselves apart as “cinema sommeliers,” an organization that helps our clientele understand and appreciate the differences we offer. One way to do this is to stop referring to our completed projects as home theaters and instead refer to them as “private cinemas.”

 

As a cinema sommelier, what level of service can clients expect to receive?

Like a wine sommelier imparts their knowledge to help each client select the perfect wine pairing, as cinema sommeliers, we help our clients understand the value of improved sound quality, video quality, acoustics, and aesthetics of a space, the differences between a great private cinema and an out-of-the-box home theater. We can identify the specific elements—from a room’s geometry and sonic signature to the expectations of those who will be enjoying it—to enable us to transform the space into something that’s truly amazing.

 

In our industry, most home theater specialists fail to identify and promote the value of what they do for their clientele. We feel home theaters have become a pleasure unexploited. I’ve made it my personal mission to spread the word to the public that it’s possible to have something great, that it is worthy of their consideration to acquire a private cinema that will enhance their enjoyment and that they can share with those they love—similar to what people now do with fine art, personal wine cellars, gourmet kitchens, and so on.

 

How does Paradise Theater handle the actual design and installation of the elements that make up a private home cinema?

We provide comprehensive private cinema design and engineering, including design of what we call the chassis or how a room is built, acoustical engineering, system specification, interior design services, and full documentation to support the build-out of the space as well as quality control and performance verification throughout the construction process. What we

don’t do is sell equipment. We leave that to the many well-qualified integration companies we partner with on projects. This allows us to focus on our core competency—ensuring that each phase of the project is completed to perfection. We are like an architect who leads the construction of a home, but providing complete quality assurance for private home theaters. From the first glimmer of an idea to the final experience, we handle the entire process from A to Z.

 

Your projects represent the upper echelon of home theater design. What can potential customers expect from Paradise Theater that they can’t get elsewhere?
Every theater we create is bespoke—there are no

cookie-cutter theaters. Each one is purposely designed to the specific objectives and desires of the client. The reason Paradise Theater exists is its commitment to excellence. Other firms might talk about “how” they do theaters and “what” they do to create theaters, but we focus on the “why.” Why do we create home theaters? Because creating something excellent is the basis of everything we do. It’s in our DNA—our raison d’être.

 

Given the high-end nature of your theaters, your target customers are those with the disposable incomes to afford them. What is it that inspires this group of consumers to invest in a private cinema designed by Paradise Theater?

The love of finer things. Paradise Theater clients are the same people who buy fine art and luxury automobiles. They are investing in things they love. We position a home theater the same way as any other luxury item—people should have one because they love movies, but even more so for the love of having an environment that lets them connect with friends and family and create unforgettable moments. We want our theaters to bring people together, share special experiences, and connect.

 

Have any of your clients found that your theaters have, in fact, enhanced their lives in some significant way?

Two top executives who were previous clients had such busy lives that they told us that they had never watched a movie together. After we created a private home cinema for them, movie night became a regular part of their personal and social lives—it was game-changing for them.

With more than 20 years under her belt covering all things electronic for the home, Lisa
Montgomery 
has developed a knack for knowing what types of products and systems
make sense for homeowners looking to update their abodes. When she’s not exploring
innovative ways to introduce technology into homes, Lisa breaks away from the electronics
world on a bike, kayak, or a towel on the beach.

A Great Home Theater is Like Fine Wine

A Great Home Theater is Like Fine Wine

The integrator (Station Earth), interior designer (Red Theory), and theater designer (Paradise Theater)
teamed up to deliver the best of all worlds with this unique private cinema

Years ago, when the term “home theater” originated, it was used to describe something exciting and new. For the first time, the window to the world of fantasy, formerly only available through the venerable “silver screen,” became available in the home. Larger-than-life images, the first immersive audio, and the rooms themselves—from Art Deco to classic to modern, reminiscent of famous theater palaces—started appearing in the homes of those who had the passion and the means to pursue the emerging amenity. A new community emerged, and for the first time we became home theater enthusiasts.

 

In the beginning, those who took up the challenge to bring this experience into the home were inspired by the challenge and the opportunity. The objective of the film producer, to achieve the willing suspense of disbelief, became the challenge for home theater designers. This suspension of disbelief is what great films produce, enabling the viewer to become fully

A Great Home Theater is Like Fine Wine

There are no limits to style when aesthetics are artfully integrated with engineering

engaged in the cinematic experience. To quote Roger Ebert: “Movies are the most powerful empathy machine in all the arts. When I go to a great movie I can live somebody else’s life for a while. I can walk in somebody else’s shoes.“ It takes a great theater environment to realize this experience.

 

On one hand, this earlier era might be considered the “heyday” of home theater, when owning one was considered a worthy

aspiration, and the professionals who designed them were part of an elite group committed to delivering spaces that included emerging technology, aesthetic elements, and performance. Home theater was emerging as a considerable pursuit with a growing community of enthusiasts and professionals. 

 

Ironically, this heyday, while enjoying the enthusiasm of a new idea, fell far short of today’s capacity to deliver excellence. In fact, we were learning, and made many mistakes along the way. However, those who have stayed the course now have the ability to deliver cinematic experiences in the home far superior to any past home theaters—and, in fact, far superior to all but a very few elite commercial or professional screening rooms. The images, the sound, the acoustics, and the knowledge enable us to deliver a level of quality we could only dream of in the past. Unfortunately, along the way home theater has taken on so many forms that those who might have an interest in the experience face a confusing set of options.

A Great Home Theater is Like Fine Wine

A bespoke interior design conceals a state-of-the-art immersive audio system
and theater chassis in this luxury-resort amenity cinema

Manufacturers today offer many alternative solutions that can transform family rooms, dens, even spare bedrooms into what are now called home theaters. It’s not necessarily a bad thing that a larger population of homeowners has an awareness and opportunity to enjoy home theater in some form. The problem is the inference that this defines home theater, that the difference between these solutions and a fully engineered high-performance home theater has become obscured. The rhetoric in some circles is that there is very little difference or that most people can’t tell the difference.

 

But these systems are a far cry from what is readily obtainable today and, most importantly, the purpose of home theater as it originated—a space created to support the artists’ intent, a willing suspension of disbelief; and the potential of the art today—a window to experience a world of art and fantasy like never before. 

It’s like wine. Some people are fine with a mediocre wine, while others have learned to appreciate the qualities of a finer, more expensive wine. People will always find a less expensive and less perfect way to do something, and, until they are shown the difference, will not realize there’s a big difference between the ordinary and the extraordinary. This is especially true when it comes to home theater.

 

Rather than merely focus on the technology behind the movie magic, my company applies a holistic approach, where every aspect of the environment—construction, engineering, aesthetics, and ergonomics—is crafted for the purpose of producing the finest private cinema experience every time. Consider us a bit of a unicorn in the home theater industry by focusing on what we have done and still do best: Designing luxurious, high-caliber, private spaces dedicated to superb movie viewing for our clients around the globe. 

ABOUT
PARADISE THEATER

 

My company, Paradise Theater, which has offices in both Hawaii and California, engineers and designs extraordinary high-performance private cinemas worldwide. Working with integrators, architects and interior designers, Paradise Theater provides the value-added services of optimized room acoustics, private theater performance engineering, design development and integration of theater interiors, and performance verification. The pursuit of excellence in private cinemas is the raison d’être for both me and my company.

—S.C.

Although a lot has changed in the home theater world—the types of technologies available, the variety of professionals who install them, and a looser definition of the term—my team and I have stayed true to the original goals of home theater design by customizing each and every room specifically to provide the best experience possible.

 

We have indeed carved a niche for ourselves in the home theater market by giving consumers a high-end option with high-end results. Yes, technology plays an integral role in the rooms we create, but amazing movie viewing is best achieved when in a space that’s been built, engineered, and designed for that one pastime. Light from windows, noise from a busy street, the hum of a video projector—nothing interferes with the movie-viewing action in an expertly crafted private home cinema.

 

Our mission is to create excellent home cinemas. It’s my passion, and the reason I continue to do what I do.

Sam Cavitt

Sam Cavitt is the founder & president of Paradise Theater in Kihei, HI and Carlsbad,
CA. 
Sam hails from Maui, where he can be found surfing, sailing, drumming, and paddling
when he is not designing.

Luxury Can Be Invisible

Luxury Can Be Invisible

For many people, luxury and beauty are inseparable. Whether we’re talking about an Aston Martin sports car, a TAG Heuer watch, or even a Sub-Zero refrigerator, part of what makes it a luxury item is the beautiful design. It’s something people like to look at and show off.

 

In the world of high-end home cinema, luxury can certainly be beautiful. You may choose to assemble a system that gorgeously melds form and function—maybe a set of Focal or Sonus Faber speakers, a rack full of McIntosh’s cool retro-

looking electronics, and ornate lighting fixtures and shades that demand to be seen.

 

For some people, though, the ultimate luxury is a home media system that’s completely invisible and doesn’t detract from the home’s decor. A system that guests would never know existed—until the press of a button brings it to life to deliver a high-performance experience. If that sounds appealing, the good news is that today’s custom market offers plenty of ways to achieve invisible luxury.

 

Of course, audio is the easiest to hide. Gear racks can be tucked away in closets, wires can be run through walls, and there’s an endless array of in-wall and in-ceiling speakers from which to choose. The quality of in-wall speakers has improved greatly over the past 10 years; they’re no longer relegated to providing background music. Speakers from companies like Triad, Wisdom Audio, and Pro Audio

Luxury Can Be Invisible

Sonance’s Invisible Series in-wall speakers (also shown in the illustration at the top of the page)

Technology really can deliver audio- or theaterphile performance from within the walls.

 

And hey, if the average in-wall speaker is still too visible for your tastes, consider a truly invisible model, where you can’t even see a bezel or speaker grille. This is a growing category and now includes offerings from the likes of Sonance, Monitor Audio, Stealth Acoustics, and Nakymatone.

 

“Invisible” video products require a bit more creativity—or at least a bit more expense during the installation process. If you’re going the front-projection route, it’s common to install a projector in an automated cabinet that can lower from the ceiling,

and motorized drop-down screens are readily available.

 

If you’re thinking you can’t use front projection outside of a dedicated theater room, think again. These days, you can find projector/screen combos that work very well in a brighter room, and screen manufacturers like Screen Innovations even have creative drop-down screen solutions that hide in your window frame.

 

Where you really have to get creative is if you want a TV instead of a projector. Sure, smaller TVs can be hidden in cabinets, even automated ones where the TV rises up from within the cabinet itself. But it’s a lot more difficult to hide a 65- or 75-inch (or bigger!) screen. You may have to settle for a creative disguise, and technological advancements are helping this along. Back at CES, LG showed off a rollable 65-inch OLED TV that disappears down into a modern-looking cabinet. It’s supposed to come out this year, and we’ll see if LG offers announces larger screen sizes down the road.

 

MicroLED, which consists of smaller individual panels that can be combined in all shapes and sizes to form a TV, is also promising. It’s not invisible per se, but there are ways to creatively blend the panels into your wall design and perhaps use them as artwork when they aren’t functioning together as a TV.

 

In the meantime, another way to disguise your TV is to go with something like Samsung’s The Frame, which looks more like an art frame than a TV and displays art of your choosing when it’s in standby mode. Lots of TVs can show 

art as a screen saver, but The Frame does it more thoughtfully, keeping the power use low while automatically adjusting the screen’s appearance to suit your room’s lighting conditions.

 

The final piece of the puzzle is the home automation system that makes the invisible visible, transforming your everyday living space into your luxury home theater. Some dimmable lights. Blackout window shades (which, by the way, don’t have to be black—they can be quite lovely). And a controller to handle it all. A stack of remotes is hardly invisible, but all the major home-automation companies, from Control4 to Crestron to Savant, can put advanced control into an iPad or tablet that looks like every other tablet lying around your house right now. You can also integrate that control into subtle but stylish (and fully customizable) on-wall keypads. To your visitors, it’s just another switch on your wall, scarcely worth noticing.

 

As Lisa Montgomery said in her recent piece “Techorating—It’s a Thing,” the best way to achieve the perfect blend of technology and design is to get your interior designer and home technology team working together, on the same page, from the start. Creating a completely invisible home media system may take a bit more planning, a bit more expense, and a bit more patience, but the result will be a luxury that’s well worth the wait.

—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.

Techorating–It’s a Thing

Techorating--It's a Thing

Samsung’s “The Frame” TV 

How long have you dealt with that stack of black boxes perched somewhere within the vicinity of your TV or those strands of spaghetti snaking across the floor to connect this widget to that widget? Maybe you’ve been living in this high-tech state of disarray so long that you’ve started to turn a blind eye toward these and other eyesores.

 

It’s time to stop and do something about it. Your house doesn’t have to look this way. Stereo equipment shouldn’t clash with the cool paint colors on the walls and wiring shouldn’t crinkle up the carpet. Really, there’s no reason that any type of

technology should overpower the cosmetics of any room of your house.

 

In fact, when infused appropriately into the design of your home, things like speakers, cable boxes, security cameras, and remote controls can actually make your house look better than it ever has . . . and make it perform a lot better to boot.

 

How?

 

The secret behind maintaining a clean, uncluttered appearance inside a home occupied by technology is teamwork. Don’t worry—this type of teamwork requires no uncomfortable hugs, handholding, or pep talks. In a home where the goal is to have design and technology work in harmony, you’ll need the teamwork of two very important home improvement professionals: An interior designer and a home technology specialist

 

These two people may seem like an unlikely duo, but when they come together amazing things can happen. Naturally, 

the interior designer’s objective is to turn your house into to an aesthetic masterpiece by applying new textures, colors, and furnishings and revamping architectural elements. Meanwhile, a tech specialist wants to improve the way your home performs through the installation of high-caliber music and video systems, smart lighting and climate controls, and convenient, effortless automation features.

When these two goals are tackled independently, you might sacrifice design for technology or vice versa. But when the tech and design professionals devise and execute a plan together, you get the best of both worlds. That stack of black boxes standing next to the TV disappears, residing instead inside a specially built equipment closet. The TV? With teamwork, the screen can sink into beautifully crafted cabinetry that matches the rest of the woodwork. And cabling? Even speakers can be rendered virtually invisible by recessing them into the ceiling

(or anywhere else for that matter) and coating them with a shade of paint to match the mounting surface.

 

Some of the super-cool setups that happen when an interior designer and tech specialist come together for the common good of your home:

 

Elegant light switches: Faceplates in every color of the rainbow, even gold- and silver-plated, can complement the decorating scheme of a room and consolidate multiple switches under a single housing.

Seura’s TV Mirror 

Artsy TV screens: When the TV is on, you see video; when it’s off, the screen transforms into a work of art or even a mirror.

 

Hidden assets: Motorized lifts can tuck a video projector and screen into the ceiling when they’re not being used. In an instant, a home theater is able to convert back into a traditional family room. 

 

Bottom line: If you’re in the market for either a cosmetic or tech upgrade for your home, be sure to get both contractors on board from the get-go. They’ll be able to come up with a game plan that suits your needs for great-sounding music, jaw-dropping video, elegant lighting, and other smart-home amenities . . . as well as a beautiful, comfortable interior.

 

Lisa Montgomery

With more than 20 years under her belt covering all things electronic for the home, Lisa
Montgomery 
has developed a knack for knowing what types of products and systems
make sense for homeowners looking to update their abodes. When she’s not exploring
innovative ways to introduce technology into homes, Lisa breaks away from the electronics
world on a bike, kayak, or a towel on the beach.

Creating Rayva: Vin Bruno

Creating Rayva: Vin Bruno
Theo's Corner

Rayva CEO Vin Bruno has been key in taking my desire to stem the decline in home theater and
help turn it into a viable company offering turnkey entertainment-room solutions. I recently talked
with Vin and Cineluxe editor-in-chief Michael Gaughn about the factors that led to Vin joining the
company and about what we’ve been able to accomplish since he came on board.

—T.K.

 

 

Michael Gaughn  My understanding, Vin, is that Theo recruited you to be Rayva’s CEO. How did that come about?

 

Vin Bruno  When I was the CEO of CEDIA, I was two weeks into the job, giving a presentation at our awards banquet, and amongst the 300 attendees, I spotted Theo. After the banquet was over, I went to find him and say hello, and he expressed his concern about the decline of home theater. The very next week, I went to Theo’s apartment in Brooklyn to see what we could do, as CEDIA and as an industry, to reverse that decline. And that was when Theo presented his vision for Rayva to me. And I thought, wow, this is the right thing to do. This is a great initiative. It will drive lots and lots of business and profitability to CEDIA’s members if they help implement Theo’s vision.

MG  Theo, how well did you know Vin before you approached him about Rayva?

 

Theo Kalomirakis  Vin and I have been friends forever, and he had me work with him to develop the theater experience for Crestron. To me, Vin represented a very, very fresh perspective in how you reach out with an idea. When we met after that CEDIA event he described, he impressed me with a story he told. He was in Dallas, and he found out that there are about 800 integrators in that city, and only about 10 of them were CEDIA members. So Vin recognized the opportunity for reaching out to these people to educate them and make them our partners in selling home theaters. I love that approach because it thinks outside the box and sees the potential that exists beyond what is easily within our reach.

 

I wanted everybody in Rayva to have that kind of vision. Vin is so important to the company because he has the trust of everybody. And they may not buy into my vision because I’m very passionate and sometimes I don’t communicate properly or people are threatened by me. But Vin does it methodically from a business perspective without losing his vision that the world out there is much bigger than what we can get by working hand-in-hand with just the integrators at CEDIA. That’s a finite effort that’s not going to get us far.

 

Vin is my partner and ally in this venture because he embraces the same values and the same bigger vision that will eventually allow us to reach out to the people who are specifying theaters—designers and architects—and eventually to the end user. That’s our biggest goal, to reach the end user directly and teach them what the benefit of a home theater is and how it can enrich their lives.

Creating Rayva: Vin Bruno

ABOUT VIN BRUNO

A veteran of the custom integration industry, Vin Bruno joined Rayva’s board of directors in 2017. He is now the company’s CEO, leading promotions and marketing initiatives meant to educate architects, builders, and technology integrators about Rayva’s turnkey home theater solutions.

 

Vin has had a number of leadership positions in the AV industry throughout his career. He helped Crestron double its sales revenue during his tenure as Director of Marketing, and his marketing efforts helped rejuvenate CEDIA during his time there as CEO.

 

He has also served on the advisory council for the Harvard Business Review and on the Consumer Electronics Association’s TechHome Division board.

MG  Theo, tell me if I’m wrong, but it seems like Rayva really hit its stride within the past year, right around the time Vin came on board.

 

TK  Yes, that’s true.

 

MG  I know the company went through a lot of struggles early on, and there was a lot you needed to figure out. What did both of you need to do to get on the same page? How much did rethinking the whole engineering process and the effort to productize theaters have to do with that?

 

TK  Realizing the need to rethink the engineering happened organically about a year ago when we realized that the way I had defined the product was not repeatable and was not productized enough to create a consistent offering that could be deployed successfully every time a client wanted a theater. Essentially, I woke up one day and said, “We missed it.” That was a rude awakening when I saw things being installed, and they were not consistent with my vision. I saw face-to-face what other people couldn’t see, that this product needed severe attention to detail that it didn’t have.

I was trained as a custom designer. My eyes aren’t trained to go beyond the surface and see what it takes to make that surface stand and work. So that was the evolutionary change that began a year ago when the first theaters were being installed. That realization put us in overdrive to develop an efficient way to deploy the theaters that would guarantee our success and our repeatability as we reached out to designers and architects, and expanded to other countries.

 

VB  As for the first theaters we deployed, I think you’re absolutely right. We took a product and we delivered it as if it were a custom job. And we then stepped back and said, “Well, this isn’t scalable and it’s a lot of work.” We wanted to minimize the effort for our technology integrators in installing a Rayva theater. So the work Theo and the engineering team he put together has created is patentable—and we are going to pursue patents on these products and these methods. He’s made delivering a Rayva theater as consistent as buying pencils at Staples. It’s that simple to take delivery of a theater and take the elements out of the box and install them on the wall.

 

MG  Now that you’ve worked out the product, what do you think it’s going to take to create a renewed demand for dedicated home theater rooms?

 

VB  We need to inform both integrators and potential customers. People don’t know what they don’t know. There are technology integrators that don’t know they can be in the business of deploying home theaters. Homeowners don’t know they can have a home theater in their house. Most people think that it’s over the top, expensive, complicated, and lots of changes need to happen. They don’t realize we can take any spare room they have and turn it into their relaxation space where they can sit and listen to music or watch movies or have their kids or grandkids play video games, and keep those lovely sounds of the video games in that room. So that will be the service 

we can provide—to let people know that this business, and the profitability of this business, is within their grasp. It’s accessible to all technology integrators and it’s accessible to homeowners who think a theater is out of reach.

 

MG  It seems like any resurgence in home theaters would have to be spurred not so much by a love of movie theaters or watching movies on discs, but by the popularity of online movie services.

 

TK  I agree, and I’ll use myself as an example. I used to use my own home theater much more rarely than I do now because it required an effort to go and find a disc and put it in. I found that cumbersome. Only making the time to watch the latest release on disc made it a unique, singular, one-off experience. But streaming has revolutionized the way I watch movies, and I’m pretty sure it’s the same for other people. I watch movies every day because no more discs. I turn on the TV, and I look at 

Creating Rayva: Vin Bruno

my Kaleidescape screen, my Netflix screen, my Amazon screen. The fact that there’s such an abundance of content—such an abundance of good content—has made the use of my theater not so archaic and so kind of specific. Online content has really opened up the flexibility of a dedicated room to a degree that wasn’t available before.

 

VB  We can see that same phenomenon as a company, which is why we as an industry are so important to the ISPs. We’re providing a way for people to enjoy streaming content in the best way possible. Instead of viewing it on tablets or phones, we actually now deliver it to big screens.

 

Ultimately, home theaters are in the best interest of technology integrators and their businesses, and home theaters are in the best interest of families and their homes. Enjoying entertainment in a dedicated room is an enjoyable and valuable way to spend time together. And, to bring our conversation full circle, that’s what inspired me to join Theo in his efforts at Rayva.

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.

Creating Rayva: Dimitris Theodorou

Creating Rayva: Dimitris Theodorou
Theo's Corner

Dimitris Theodorou has turned out to be much more than just an excellent architect. He created
the striking Origami theater design for Rayva, and has since followed it up 
with the bold Light
Edge (shown above). Cineluxe editor-in-chief Michael Gaughn recently interviewed Dimitris and
me as part of my series of conversations with the prime movers behind Rayva. We discussed
Dimitris’ surprising emergence as an innovative designer, and some of the challenges we faced
with his first designs.

—T.K.

 

 

Theo Kalomirakis  I met Dimitris through a friend. That introduction didn’t have anything to do with creating new designs. It had to do with needing to have somebody architecturally develop the original templates for all the Rayva theaters. But as I got to know him, I realized he has a talent beyond being an architect—he’s an artist. So once I started reaching out to designers in Greece and other parts, Dimitris said, “You know what? Now that I know what the whole Rayva system is like, let me come up with something.”

 

Michael Gaughn  That turned out to be the Origami theme, right?—which has been Rayva’s most successful design so far, if I’m not mistaken.

TK Yes.

 

MG  Was there any particular inspiration for that design or did it just come from playing around with shapes?

 

Dimitris Theodorou  I’ve always liked triangular shapes, and I thought, let’s try them in a bigger space. I wondered how they could be used in complicated and interesting combinations in a theater. I took that simple form and tried it in different positions and angles in a typical dedicated home theater room. I started by dividing a simple rectangle, and then I folded it so that it became 3D. I liked the result, so I started developing the design with Theo.

 

We then decided to add light fixtures to it. I added illumination to the pyramid shapes, so that light comes out of that form. I think the combination of the unlighted and lighted pyramids creates some interesting forms and shadows.

 

We have a very simple form that, multiplied by the shape itself, has the ability to create a more interesting design. That is the concept of Light Edge, too. I’m fascinated by complex constructions that arise out of simple forms.

 

MG  Home theater spaces present a really unique design challenge. They’re not just another room. They’re not just about four walls and entryways and windows. So what were some of the challenges of creating that first design? Was there a learning curve to it?

 

TK  It was mostly making sure that whatever design we came up with could be applied to our backdrop, which are our panels, which can fit in any room, any size. We created the equivalent of a Lego system where you add panels to address the needs of larger rooms and take out panels for smaller rooms. That flexibility is the backbone of Rayva.

 

The challenge was, how do we come up with something that can be showcased in front of the panels and doesn’t hide speakers or cover too much of the acoustical treatments? We needed to balance the function and the role of the artwork with the need to adhere to the technical specifications.

 

DT  Because you can’t really know the position of the

Creating Rayva: Dimitris Theodorou

ABOUT DIMITRIS THEODOROU

Dimitris Theodorou was born in Athens, Greece in 1983.

 

He studied interior and furniture design at the Technological Educational Institute of Athens and then Architecture at the National Technical University of Athens. While pursuing his Masters degree, he began working as a freelance architect on many projects both alone and with others.

 

Dimitris received his Masters in “Theory in Architecture” in the summer of 2018, which made him very happy since he can now focus on his own work.

 

He has participated in many architectural competitions in Greece, from which he has gained three distinctions.

 

Dimitris joined the Rayva team in February of 2017. His main responsibility has been to develop all the different room templates, categorized by theme and size, while also managing the company’s current projects. He has designed two themes for Rayva’s portfolio: Origami and Light Edge.

 

He enjoys walking around Athens and shooting photos of buildings, ruins, and . . . cats. He also enjoys listening to music and more rarely—because of lack of time—skiing.

speakers ahead of time, Origami and Light Edge provide a lot of flexibility for the positioning of the design elements. Instead of creating a design that can only be positioned one way, I designed the theme as a whole, and just gave it a structure, a grid, so its elements can be repositioned as needed.

 

TK  The light fixtures are movable objects, so they can be positioned around the speakers and never have to cover them. The ingenuity of the system is that it offers so much flexibility. Unlike the fixtures in some of the other design themes, which must be in a specific location in the center of the panel, the Origami design elements can be placed wherever we want to look good without obstructing the technology behind the panels.

MG  So, for purely functional reasons, you can actually end up with unique rooms, because you need to position the fixtures differently every time.

 

TK  Every room will look different. The same design elements, but differently positioned every time.

 

DT  The beauty of Origami is that you have only one very simple fixture, but it is very versatile and can lead to numerous designs.

 

MG  What was it like for both of you translating the design itself into reality?

 

TK  Well, we took the design and gave it to a manufacturer, and told them to bring it to life, but that was not the right approach. We kind of lost control by having it developed without us being part of the engineering to make sure that the design would work. So after we met Paul Stary, we gave the design to him and he deconstructed it. He took it apart in multiple pieces and tried to put it together in a way that is always under his control. He created a set of blueprints that we can now give to any factory in the world, and they can manufacture the same light fixture every time.

 

MG  We’ve already written about one of the Origami installations, and I know there are others on order. Have you executed more than one?

 

TK  We have executed two, and we have another one that’s going to Angola. We have others that are already in showrooms.

 

MG  Do you have any orders yet for Light Edge?

 

TK  We had the same challenge with Light Edge that we had with Origami. It was originally engineered without the right approach to creating the product. Paul is in the process of finalizing the engineering drawings for both Light Edge and Origami.

 

MG  When you were working on Origami, did Dimitris do a lot of the work on the design and then present it to you for comment or did both of you work on it all along the way?

 

DT  We shared some thoughts at the beginning, and then I did some initial drawings, and that was pretty much the 

whole theme. When there’s an order, we discuss how to accommodate the exact position of the speakers, and then it goes into production. It’s so simple, really.

 

DT  We shared some thoughts at the beginning, and then I did some initial drawings, and that was pretty much the whole theme. When there’s an order, we discuss how to accommodate the exact position of the speakers, and then it goes into production. It’s so simple, really.

TK  An issue we had to deal with was making sure to orient the triangles so the light from the fixtures wouldn’t wash out the screen. You can always turn them off, of course, when the movie plays. But if you want to leave them slightly on, the ones facing the screen create a problem. So we don’t have any lights facing the screen.

 

MG  I also noticed that the rendering of Light Edge [shown at the top of the page] shows some of the fixtures positioned on the ceiling as well.

 

DT  Yes, that can be an option, but only with Light Edge, not Origami. The Origami fixtures are too big to put on the ceiling.

 

MG  Is Light Edge the only design where you have the option of having a light element there?

 

TK  No, Movement is another one. It uses LED lights on the wall and the ceiling panel.

 

MG  Whose design was that?

 

TK  It was originally designed for a custom theater. But we modularized it and it became a Rayva design, except it’s not designed by a specific artist.

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.

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.

Creating Rayva: Paul Stary, Pt. 2

Creating Rayva: Paul Stary, Pt. 2
Theo's Corner

In Part 2 of Michael Gaughn’s interview with me and Paul Stary, who engineered the Rayva theater designs, we talk about our efforts to ready the designs for manufacturing and distribution.

T.K.

 

Michael Gaughn  Have you hit any major hurdles in your collaboration? Has there been anything where you’ve said, “It looks good right now but as this plays out and has to be reproduced it’s just not going to fly.

 

Theo Kalomirakis  Every step of the way we had a challenge. We had challenges before we started dealing with them. For example, just stretching the fabric with staples around the frame looked good, and the end result was good, but it wasn’t practical for shipping the product in small boxes instead of having it crated. So that challenge led us to a solution.

 

Without challenges you get stuck in the initial concept and then you wait until the concept is applied in the real world and then it flies or it dies. Challenges during the course of engineering are a godsend. You come to see them as obstacles that need to be overcome in pursuit of a final, perfect product.

MG  It seems like there are two levels to this process, one level being the wall panels, which are a common element to every theater. But then there is the unique application of design elements on top of the panels. It seems like that second level has to be more flexible because you’re incorporating a lot of different elements.

 

TK  That’s correct. The panels provide the backdrop for the theater and conceal the engineering, the speakers, and the acoustical treatments. But the creative part is what goes in front of the panels. And that brings a unique set of challenges because those elements change based on the artist.

 

It’s like a gallery where you hang paintings on fixed walls, but one month the painter is Basquiat, the next month is Andy Warhol, the third month is Picasso. So you have very severely controlled backdrops, which Paul engineers, that artists can use as a depository of their ideas. They give us ideas and then we turn these ideas into something that can be built predictably and repeatedly.

 

MG  Are you at the point now where you feel like you can build this model out, where you can just keep scaling it up as you get more orders? Or is that a whole other phase of development?

 

TK  We have a perfect foundation for building up orders at any number or quantity we want. Paul has said it’s like building a skyscraper. If you don’t have a good foundation—and we didn’t have a good foundation at the beginning—

you’re going to build the first floor and the second floor, and then the third floor will collapse because its weight can’t be supported by the foundation.

 

So we’ve created a foundation that ensures repeatability and dependability no matter what the order or the scale of sales are. This is the brilliance of engineering properly. We create a repeatable result.

Paul Stary  Yes, like most products at the beginning, it’s not going to start out at the highest quantities; it will be a building process. So the elements of various designs and components are easily scalable by either increasing the volume with any one vendor or adding more vendors. Because everything is so well documented, we can draw on resources from around the 

Each of the wall panels in Marina Vernicos’ theater design “Pools” contains scores of parts engineered
to ensure the panels can be easily shipped and assembled. Each panel is designed to be able to support
decorative elements and lighting fixtures and to conceal speakers, acoustic treatments, and wiring.

world. We can scale it up pretty easily by just adding the resources necessary at the time to allow the building process to occur. So I think we’ve got a pretty good handle on being able to respond to the growth.

 

MG  Where are both of you in the process now? Do you feel like you have the Rayva model completely engineered?

 

TK  Yes, the engineering is nearing completion and then pricing will come next. I would say we’re about 70% done because we’ve built the foundation and are now adding the details to the foundation.

 

PS  Yes, all of the foundation has been laid, which means we’ve defined all the parts, determined how they interrelate, and what is required for manufacturing.

 

TK  We also had the luck of working with people who bought into the concept. One of which is our friend Savvas Stamatopolous from Greece, who is working with Paul on the next phase of the product development—how you implement the product. That means creating software that allows the product to be ordered, inventoried, and sold. So he had a very key role in creating a database of parts that is organized, codified, and priced so that at the click of a button we can get prices for every theater configuration based on the components that are used.

 

We have a team that worked in conjunction with Paul and me to create the parts we needed in order to develop the product. And that includes creating 144 templates with every possible important room configuration. Dimitris Theodorou, working under our project architect Eric Chuderewicz, created these endless templates that in turn allowed us to count how many parts per theater are in each room size and each design. It was a very complex process that took a few months, but we did it.

 

So this isn’t just developing the product, it’s developing a product based on a whole scheme of things where there is the inaugural vision and then you drill down to the details. Just like Paul described [in Part 1], at the beginning you see this from a 30-mile view and then as you go down you start tightening the loose ends and create the kind of product we believe will change the way people think about home entertainment.

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.

Creating Rayva: Paul Stary, Pt .1

Creating Rayva: Paul Stary

An admittedly fuzzy picture of me with some of the key contributors to Rayva (from left): Tim Sinnaeve (Barco),
me, Rayva CEO Vin Bruno, Anthony Grimani (PMI), Paul Stary, and Rayva president George Walter

Theo's Corner

I recently asked Cineluxe editor-in-chief Michael Gaughn to interview me and my key collaborators at Rayva about our efforts to create turnkey home theater solutions that can be efficiently manufactured and easily installed. The first interview was with engineer Paul Stary, who took my initial concepts for the Rayva theaters and came up with brilliantly practical ways to manufacture the designs without any compromises in quality.

T.K.

 

Michael Gaughn  Theo, what was the initial issue that led to you needing to engage an engineer in this? Was there a problem with a specific installation or whatever?

 

Theo Kalomirakis  Yes. We created the first two Rayva theaters more or less based on practices I used to use for custom designs, but they were not adequate to provide the kind of product we wanted Rayva to be. But I didn’t know any better and we did it. We met with a variety of challenges in installation, but also in creating predictable parts. Every part, because it wasn’t defined in an engineering fashion in detail, was prone to be misinterpreted by the manufacturer and built differently. This had the potential to create some problems, which we carefully managed.

 

What brought me to Paul, by serendipity, was his son, Steve, of Brilliant AV, who was the first one to install a Rayva theater. He knew what I was trying to accomplish, and he knew what his dad could do. And he said, “Talk to my dad, because it’s

not just that he’s my dad, I know he is a brilliant engineer and he might be able to give you the right engineering perspective.” So he made the introduction, I called Paul, and the rest is history.

 

MG  Paul, had you ever had any interaction with Theo before this?

 

Paul Stary  No, I had not. We’d never talked. Although I knew his reputation and, through my son’s dealings, had learned about the Rayva theater product.

 

It has been an interesting relationship because you can obviously tell that Theo is extremely interested in the unique nature and detail of his product and all the design, and rightfully proud of all that. I just wanted to take what he had done and change what’s behind the curtain in a way that makes it reproducible and better in terms of the form, fit, and function but without changing the appearance of it.

 

If you compare a theater from the first Raya installation to one installed a year from now, you won’t see any difference until you start taking things apart and then you’ll see a radical difference. There’s almost nothing recognizable behind the façade.

 

Another big part of the engineering is creating a group of people that works together with common goals to evolve the product and the process. We’re trying to take something that is more or less an individual idea and turn it into an organization where the organization has the power rather than one particular individual.

 

That’s what has to happen when you take a company that changes from an idea into a product. Theo’s great at setting the culture. He’s also been great at adapting to change, which is something a lot of people in his position are not able to do. I would have probably bailed on this project long ago if he wasn’t like that, or hadn’t been so willing to make the necessary changes.

 

MG  What was the first thing you guys took on when you started the engineering?

 

PS  Well that’s a difficult question because there really isn’t any one thing; you have to look at it as a system. My

Creating Rayva: Paul Stary, Pt. 1

ABOUT PAUL STARY

Paul Stary is the President and CEO of Virual-E Corporation is Costa Mesa, CA. He is the founder, designer, and developer of the company’s signature product the VirtualGT racing simulator, a $20,000-$50.000 machine sold to affluent motorsports enthusiasts and racers, corporations for marketing and promotion, and commercial racing centers.

 

The VirtualGT simulator is based on home theater technology, and is widely considered the most realistic and exciting simulated driving experience available, which can be directly attributed to its custom audio and vibration system. (For more on, see Dennis Burger’s “VirtualGT: The Ultimate Racing Simulator.”)

 

He is also a principal at Audio-Video Engineering in Costa Mesa, which is a consumer electronics consulting, design, and engineering firm that specializes in the developing and manufacturing custom analog and digital electronics, computer control systems, and speaker systems.

 

The company recently completed the design of the TalkStar talkbox, a radical improvement in the performance, quality, and reliability of this obscure musical effect that was popularized on Peter Frampton’s Frampton Comes Alive in the ‘70s.

 

Paul is also the president and founder of AudioMobile, which pioneered many advances in high-end car-audio electronics, speaker systems, and installations techniques during the early days of that industry.

 approach to anything in life has always been to do a non-linear analysis, which means I start circling at 30,000 feet. You can’t see much down at the ground level at that altitude, but you have the big picture, you can kind of get an idea of the terrain, the scope, the whole package. And then you just keep circling, and as you circle you drop. And eventually you get down to Ground Zero where you’re into the minutiae.

 

That approach is useful for a project like this because if you take any one thing out of context and start to focus on it you eventually learn about some other aspect that changes the original premise, so it’s counterproductive. Even though this approach is more time consuming, it saves time in the long run because you have a more effective approach to managing all of the problems together as a unit.

 

So the problems typically are to take all the components and see how they fit together. And even that is difficult because there are multiple levels in terms of the manufacturing process of making it affordable, and maintaining the quality when it’s produced so it has consistent dimensions and finishes, and so forth. And then you might make the system easy to manufacture, but it’s a nightmare to install. So you have to keep all these other disciplines in mind.

Creating Rayva: Paul Stary, Pt. 1

The wall panels for the original Rayva designs had to be shipped pre-assembled
in large crates, and were difficult to install.

Then you have to define all the parts and build them, but you’re not done. You still have to kit them for shipment to the customer. We’re going to outsource that, so we have to find resources who can do that. And then the product has to be easy to ship. Right now, the Rayva theaters are shipped pre-assembled in crates, which makes it extremely inflexible.

 

And then there’s the installation. Even beyond that, there’s the ability to service and support, and to upgrade over time. Our clients are obviously homeowners with some degree of affluence. They often move and in the process may resell the house to someone who may not have the same tastes, so can you make upgrades and alter the designs of the theater after it is installed? Or is it so custom that it’s stuck that one way forever, so you have to rip it out and start over?

 

Those are the kind of things I looked at as we sought to make a Rayva theater a product that can be manufactured at a reasonable cost, then assembled by outsourced resources of various types, then easily shipped and installed so it can be readily upgraded, serviced, repaired, and supported in the field.

A brief video showing the installation of the Rayva wall panels
before they were engineered by Paul Stary.

We’re on that path right now, and understanding the unique nature of the product was extremely important as I circled down to the ground. I’m pretty much at the point where I understand all of the different elements, and it’s a very complex product because there are so many variations. There are angles and finishes and lighting systems, and things like that, that have to be integrated. I think we’ve moved Rayva from a custom theater to a turnkey product that anybody can buy and install.

MG  What impact does the complexity of a Rayva theater have on actually fulfilling an order?

 

PS  If this was a product where you simply took two or three components and put them together as a sub assembly, then put it in a box and shipped it, it wouldn’t be too difficult. But in this case there are hundreds of parts and they have to be assembled in stages and in different places.

 

So we’re putting together a software system to handle the manufacturing at the most sophisticated level where you can bring orders in random, and assemble those orders into production runs where the software manages the procurement, pricing, shipping, and all of the assembly with subcontractors. It automates the difficulty of bringing all these parts in, knowing what you have to order, when you have to order it—even more importantly, knowing what parts you have in stock, the lead times of all the parts you don’t have in stock, and then you can predict the delivery date with reasonable accuracy the moment you accept an order.

 

In Part 2, Paul and I discuss the significant challenges we encountered early on taking the existing Rayva designs and engineering them for production.

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.

The Digital Future of Movie Posters

I recently had the good fortune to review the Meural Canvas for my YouTube channel. The Meural, for the uninitiated, is a large-format (27 inches diagonally) digital picture frame sporting a matte screen making it one of the best digital picture frames—if not the best—on the market today. I reviewed the Meural through the “lens” of a photographer, seeing if it was a viable alternative to printing one’s works. Spoiler alert: With a few minor caveats, I concluded that, for me, it was.

 

Towards the end of that review I began experimenting with other ways with which to enjoy the Meural. When one of my viewers asked how movie posters looked digitally reproduced via the Meural it hit me: Is this a home theater-decor lover’s dream?

 

Having worked as a projectionist for all my teens and into my early twenties, I know all about the art of displaying movie posters. During my tenure as a projectionist, it was my responsibility to change out the posters and marquee every

Thursday evening in preparation for the Friday premieres. While I don’t believe there is any replacement for a true one-sheet—especially vintage ones—displaying movie posters in one’s theater has always been a favorite go-to for enthusiasts. But like real commercial cinemas, it might be time to embrace our digital future.

 

The theaters in my area no longer use print posters, opting instead for digital signage displays. I don’t have an issue with this, though I do miss 

the old-school bulbs surrounding the edge of each poster and seeing the cheap marquee above each saying, “Coming Soon” or “Now Playing.” 

 

That being said, displaying posters via the Meural is a decidedly more upscale affair as the images themselves are matted and framed in your choice of black, white, or wood. But the benefit of displaying posters digitally is that you’re not married to any particular poster for life. This means you could literally show the poster for whatever movie you’re playing at that moment or use it to notify the family of what film or films are on the docket for later. The fact that the Meural uses a matte-finish screen means printed works look as if they were printed on paper versus digitally recreated—at least in ambient lighting conditions. With the lights off the backlighting is a bit strong for my tastes, but not too strong that I think it would compete with the action unfolding on your screen.

 

No, the biggest drawback to the Meural as a poster display device is its size. Twenty seven inches diagonally is not a true one-sheet size, nor is the Meural’s aspect ratio of 16:9. I do wish the Meural was larger, because I believe the point of any digital frame—apart from convenience—is to make a statement, and a larger surface simply does that. All that said, the Meural could represent a very cost-effective way for fans of movie posters and memorabilia to display those types of works in their personal theaters easily and frequently. And since we’re already talking about tech-savvy users, the fact that you might have to hide a simple power cord isn’t as big a deal breaker with the home theater crowd as it might be for the casual art lover wanting to use a Meural in their living or family room. 

 

Regardless, while the folks behind the Meural may see their audience as being fine-art aficionados, I think their future—and the future of digital signage—may just rest in home theater.

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.