Home Theater

Cineluxe Talks to Kaleidescape’s Cheena Srinivasan

Cineluxe Talks to Kaleidescape's Cheena Srinivasan

Last week, I had the opportunity to chat with Kaleidescape’s CEO Cheena Srinivasan about the current state of the movie industry and home entertainment. Among other things, with theater chains around the world being closed due to the pandemic, movies are being released in the home market far earlier than usual, and the studios have held the release of some major films and delayed production on others. Cheena shared his insights on Kaleidescape’s movie sales, the quality of streaming versus downloading, and day-and-date film releases.

—John Sciacca

We are in uncharted waters when it comes to traditional film distribution, with some studios releasing movies to the home market right after they were in theaters for only a short time. Are you seeing customers exploring catalog or older titles or are they primarily going for new releases?

Kaleidescape is interesting in that we cater to a movie-loving audience that has invested in a high-quality media room or home theater experience. These people are generally affluent and also tend to be very busy, so they are looking for great content to watch in the time they have. But when it comes to great content, it’s hard for the latest releases to make up for what a hundred years of movie-making has already contributed to people who love cinema, so there’s always good stuff to catch up on. Kaleidescape has a deep library of more than 11,000 titles, and historically we’ve always seen a 65/35 split between customers purchasing great catalog library titles and new releases.

 

We have agreements with 44 movie studios now, giving us a complete content offering. In general, the number of movie downloads increases each year, and for March we saw a 70% growth. New titles being released early certainly helped these 

numbers, and we also had a nice injection from the recent 4K James Bond releases.

 

Besides movies, we also have a large selection of concerts, TV series, documentaries, and even operas. If you want to enjoy a nature series, there is nothing better than the rendition of Blue Planet II available in 4K HDR from BBC. No one else offers that with the level of 

quality we do. Ditto with some of the Disney 4K HDR titles with full Dolby Atmos audio. We are very proud to have the kind of offerings we do for the cinema connoisseur, people who really care about that experience—because that’s what it’s all about, the experience.

 

We also offer a movie pre-download service enabling dealers to provide a turnkey solution for their clients. Clients can choose from the finest curated content that is important to them, which is then purchased and downloaded at the factory onto their new Kaleidescape system. When the system is configured in the client’s home cinema, all of their pre-purchased fantastic content is available to watch immediately.

 

Most other internet services rely on streaming for content delivery, but Kaleidescape employs a download-only model. Why is that?

To ensure that predictable, always-great experience we’re known for, content must be downloaded instead of streamed. This is something we have taken as an anchor for our brand. With Kaleidescape, you can schedule downloads to happen when everyone is asleep, and once downloaded, the content resides on a server in your home and you aren’t reliant on the

internet or delivery speeds to dictate the highest fidelity picture and sound playback.

 

With recent improvements to our system and a gigabit internet connection to your home, we’re able to deliver a full 4K movie with lossless audio soundtrack in 15 minutes or less. We can’t provide instant streaming playback without sacrificing what the brand stands for, which is the finest quality experience every time.

 

Increasingly, studios aren’t releasing 4K versions of movies on Blu-ray but instead sending them directly to the download and streaming services. The recent Kristen Stewart film, Underwater, is one example, as are the older, non-Daniel Craig James Bond films. Is this the next step in the demise of physical media?

Disc-based products have declined rapidly in the past couple of years, which makes total sense to me because there is more complexity with anything physical. You have to forecast how many quantities are needed for different markets, then edit, review, test, approve, and manufacture the discs. This is followed by working with retailers on the logistics of stocking the right amount, and, finally, working with the retailers to dispose of unsold inventory at a discount or loss. This is too much work, and you have none of this complexity or uncertainty with digital. Internet entertainment will be the way consumers will watch Hollywood’s greatest movies for years to come.

 

Universal tried something unprecedented with the release of the Trolls sequel as a $19.99 premium video-on-demand rental the same day it was scheduled to be released in theaters. Do you think we will see any long-term changes to traditional theatrical release windows after things open back up, and will this help ease the move to more widespread day & date releases at home?

We have not seen other studios following NBC Universal’s lead. Most studios, especially with big, blockbuster titles, have opted to push them out until later when theaters reopen. That’s because it’s very risky to release movies early. It all depends on how much money you put into producing the movie and what kind of confidence you have in terms of monetizing that content over a period of time to break even on the investment. There’s no proven model for doing early releases, and I think studios will embrace the age-old belief system: If it ain’t broken, don’t fix it. And if you’re going to fix it, you better have very high confidence it’s going to work. What is clear is that more mid-range and low-budget films will be hitting the home entertainment window, skipping theatrical releases.

 

If consumers get used to the in-home convenience of enjoying movies, especially as they come closer after the 

theatrical release, they might decide to just wait and not go to the theater. But there is a case to be made that blockbusters and tentpole films are mutually beneficial for both content owners and theater chains. The big question no one can really answer is, “What can we expect in the future?” It doesn’t make sense to have a tentpole and require people to sit six feet apart from each other, because tentpoles are as much a social driver as the movie itself. And what if customers get frustrated that tickets are sold out because the theaters are operating at 50% capacity? This is why I think many studios have decided to push new releases out many months to when theater operation returns to normal.

 

Now that people are aware that they can find themselves at home for long periods, do you think they will start improving their entertainment systems and we will perhaps see a boom in media room installations?

The resurgence of interest in home theater and media rooms suggests that people are looking at it and saying, “It may not be a bad idea. We could enjoy it for many years to come.” And once they do that, that’s a psychological, mental preference change. But I think no matter what, content owners always win. It’s a mere matter of figuring out the economics, and the market will adapt and evolve.

 

It’s also very clear that the home entertainment experience is improving, and people are becoming more cognizant. Just look at the millions of soundbars and millions of 4K TVs, or even general consumer awareness of technologies like Dolby Atmos. The more that large-TV big-screen viewing happens, the more people will decide, “Hey, I’m going to find out if I could have somebody come and put a media room together!” We have always diverged from the general market in that our audience

tends to be pickier about how and with whom they spend their time—the emphasis is as much social, big-screen home cinema experience with the people you love. This is about quality entertainment time.

 

It’s been interesting to see the vibrancy of home entertainment in a very big way, and I’ve been happy 

Cineluxe Talks to Kaleidescape's Cheena Srinivasan

about recent reports discussing the shifting of content viewing and streaming services away from portable, mobile devices over to TVs. Kaleidescape has never offered any kind of mobile viewing experience because we don’t deem that to be cinematic. Anything cinematic is deserving of watching with family and friends, and we’re fortunate to be the purveyor of the highest fidelity content for home cinema owners.

 

I think there are going to be some major changes over the next couple of years that will make us look back and say, “You know, I’m glad I was on the side of internet home entertainment because this is a horse that’s destined to win!” Home entertainment has a lot of tailwind and that’s going to help it in the foreseeable future.

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.

6 Questions to Ask About a Private Cinema

This theater’s sleek decor conceals finely tuned engineered acoustics and a high-performance, high-channel-count immersive audio system. An admirable place to shelter during the crisis and to celebrate when it’s over!

Why private cinema?

Film, television, and music are three of the most important art forms and media of modern society. While music has existed for ages, film and TV are more recent phenomena. All, however, share a timeless attribute that fulfills a necessary aspect of our lives: Entertainment. 

 

In times past, we would go to the theater for our drama or to a hall for our music. Now we carry them with us, but at what cost? Arguably at the cost of the experience and quality. Private cinema can reverse this trend. In the case of film, even noted directors have publicly stated that a private cinema, properly executed, is superior to any commercial theater. The beauty is

that a private cinema can deliver all three of these important entertainments at the highest level in a setting designed to be shared with our dearest friends and family!

 

What attributes should you look for?

A quiet room that delivers your choice of entertainment without distraction or interruption. An acoustically balanced room that is skillfully designed to also be ergonomically correct for your desired audience size. That design should be elegantly integrated to provide beauty but without compromising the performance. Your cinema should be properly equipped with a system engineered to deliver a defined level of performance, and that system should be calibrated, tuned, and programmed to provide reliability and ease of use. Finally, the room and system must be skillfully constructed, finished, installed, and managed so the engineered performance and designed elegance will be successfully delivered, assuring that you can enjoy your entertainment reliably for years.

 

How can you be assured your private cinema includes these attributes?

Just as there are several attributes to consider, all of which are vital, this assurance will mandate a closer look. Resist the trend to favor convenience and compromise over perseverance and performance. There are many home theater solutions that promise a one-stop, turnkey solution but leave many vital elements unaddressed. Unfortunately, when the truth comes out, it is too late to correct these oversights. Construction and design considerations, no different than with any residential project, must be addressed. Acoustics and aesthetics need to be integrated to bring out the best of both worlds. Ergonomics and engineering combined to assure comfort and an unequalled experience. Technical expertise is needed to provide the cutting-edge systems that drive the action. There are many moving parts that alone, would fall short. 

 

Who can bring it all together?

Someone will need to take responsibility for all the essential attributes, advise you on the impact of every decision, and help you make the right choices. Once these choices are 

made, these directions need to be documented and verified through a reliable design and engineering process. Subsequently, the team necessary to bring it all to fruition must be coordinated and supervised in order to assure quality control and verify performance.

 

In the past, a vendor for one or more sub-categories found within a private cinema has attempted to provide this project management and oversight with mixed results. The better approach is to engage a professional who, like a project

architect, has the overall objective in sight. Like a symphony orchestra, a conductor is needed to keep all the parts in harmony. The grand finale, the responsibility of the maestro!

 

When should I get the process started?

The correct answer is simple, however, rarely given. The response will differ depending on who is asked. The provider of seats may quote the lead time for manufacture of the furniture. A manufacturer of electronics may look at inventory to provide the answer. A finish subcontractor, their current pipeline and backlog of work. These considerations and others are coming from a limited perspective and wrought with potential pitfalls.

 

The correct answer is, “immediately”!  A private cinema is possibly the most complex and interdependent design specialty in any architectural project. The potential for missteps is tremendous. A designer may like the idea of a refrigerated snack bar that could be located in a lobby but 

TRENDING IN PRIVATE CINEMA

Current events have spurred some unique feedback and inquiries from both current and prospective private cinema owners. Here are a few examples:

 

Video conferencing
Current owners are commenting about how great it is to reach out from an ideal environment to others, while prospective owners are seeing the potential benefit. Any private cinema can serve as an unparalleled environment to conference in, and pre-planning can raise the quality of this experience.

 

Healthy break
It can be hard to find respite in stressful times but private cinema owners have the advantage of a space designed to be insulated from the outside world. A refuge in which to read, listen, and relax. It’s good for our health.

 

Entertainment is good for us, too!
There are many things we cannot do currently, but enjoying entertainment together is one of the most beneficial activities of all!

 

The new normal movie theater experience?
The film and theater industries were in flux even before the crisis. What will the future hold? We are already seeing developments for bringing the movies home. For those with private cinemas, the “new normal” may be better than the old!

S.C.

instead compromises the noise level of the cinema. Poured-in-place seating platforms “cast in stone” create poor listening positions. An unfortunate entry-door location skews the immersive system configuration, negating a smooth and believable immersive experience. A shared mechanical system shares not only ventilation with the adjacent powder room but the sounds. These defects and more can simply be eliminated with early planning. Some, however, cannot be corrected after the fact. The price for early consultation is no more, but the cost of oversights can be irreparable.

 

Where?

Your home. Do not allow yourself to be compromised. It is your home, your life, your time with those you love. There are many choices we make when we design our homes. From kitchen appliances to living-room furnishings to swimming pools and spas. Likewise, we make many acquisitions that bring us joy. From fine automobiles, jewelry, and watches, even fine art. All worthy rewards for a life well lived! But consider this. A private cinema is one amenity that serves to enhance and even facilitate the most elusive and irreplaceable asset: Good times in the company of those we love.   

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.

Invisible Sound Solutions

Media Rooms: Invisible Sound Solutions
The Cineluxe Guide to Media Rooms

In the previous post in this series, I walked you through some of the ways in which a soundbar can—contrary to conventional wisdom—serve as the foundation of an expandable media-room audio solution with plenty of room to grow. And that’s great if you’re not entirely committed to the idea of filling your room with speakers, or if you want to start small while leaving open the 

door for more sophisticated solutions.

 

But what if you’ve already decided to install a high-performance entertainment system and you’re unconvinced a soundbar could deliver the kind of big, impactful, expansive soundstage you’re looking for?

 

In that case, it’s probably best to start from scratch with a carefully selected speaker system that more closely approximates what you’d experience at your local multiplex. That means having dedicated left-, right-, and center-channel speakers (for onscreen sound effects and dialogue) at the front of the room near your display, at least two or as many as four surround-channel speakers (to deliver offscreen sound effects around and behind you) and two, four, or six speakers overhead to deliver the height-channel sound effects of today’s Dolby Atmos and DTS:X immersive sound formats.

 

Mind you, that’s a lot of speakers—anywhere between five and 13, even before you add a subwoofer or two to the mix. And I think we can safely assume you don’t really want to see that many speakers. But you don’t have to. In our last post, on expandable soundbar solutions, I put together a hypothetical system using Leon’s Vault in-wall speakers and Axis ceiling speakers to complement the company’s Horizon soundbar. Take out the soundbar and replace it with three Vault speakers at the front of the room, and you have a complete (and almost completely invisible) component surround-sound speaker system that can compete with the best of them.

Of course, there are any number of companies out there offering similar solutions. Another favorite around these parts is GoldenEar Technology. You could combine three of their Invisa Signature Point Source in-walls across the front with two or 

four Invisa MPX MultiPolar in-walls and two to six Invisa 650 ceiling speakers for a system that rivals GoldenEar’s own massive floorstanding towers. And best of all, all of these in-wall and ceiling speakers feature paintable grilles than can be color-matched to the surfaces of your room.

 

Granted, even with perfect paint-matching, ceiling speakers do still draw some attention to themselves. If that’s a concern, you might instead opt for completely invisible speakers for your overhead-effects channels. Companies like Nakymatone and Stealth Acoustics now make speakers that install flush with your drywall that can be plastered or mudded (or in some cases even wallpapered) over. In other words, they don’t just install in your wall or ceiling; they literally become a seamless part of those surfaces.

Stealth Acoustics even makes subwoofers with the same form factor. Or you might opt for subs that install in the ceiling and port out into small circular openings indistinguishable from can lights, like Gray Sound’s S80 and Sonance’s BPS6. Or, your integrator may prefer to install more traditional subwoofers in the floor and deliver their sound into the room by way of openings that look like your traditional HVAC vents.

 

CREATING AN INVISIBLE SYSTEM

So, putting it all together from previous posts, what would a complete “invisible”  home cinema system for an entertainment room or media room look like? You’ll need your display, of course: Something like an 85- or 98-inch Sony Z9G Master Series 8K LED TV. You’ll also need a surround sound preamp like Anthem’s AVM 60 or Lyngdorf’s MP-50. And you’ll need a source or two—our favorites being the Kaleidescape Strato movie player and the Roku Ultra streaming media player—along with a good control system.

 

Add to that three GoldenEar Technology Invisa Signature Point Source in-walls around your display, two or four GoldenEar Invisa MPX MultiPolar in-walls, four Stealth Acoustics SLR8G invisible speakers, and two Stealth Acoustics B30G invisible subwoofers, and you’ll have a home cinema system that not only sounds amazing, but also has zero impact on your interior design.

 

In the next entry in this series, I’ll dig into similarly invisible (or nearly so) ways of upgrading your picture in a correspondingly cinematic fashion.

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.

Acoustic Designer Steve Haas on Media Rooms

Cineluxe Showcase: A Tribeca Trendsetter

photo by John Frattasi

Steve Haas is the person you call when want to make sure your home theater will sound better than any movie theater. His extensive body of work for various commercial venues and high-end private viewing and listening spaces has established him as one of the world’s leading acoustical engineers. And his collaborations with legendary designer Theo Kalomirakis have made him synonymous with the highest-quality dedicated home theaters.

 

But media rooms (also known as entertainment rooms, multi-use spaces, or communal spaces) are increasingly becoming the movie-watching venue of choice in the luxury market—even though they’re in many ways the antithesis of what you would want for a reference-quality home theater. They tend to be part of an open floorplan, need to serve other forms of entertainment beyond movies, are frequently flooded with ambient light, and feature serious acoustical challenges like hardwood floors, huge plate-glass windows, and large stone and concrete surfaces.

 

None of that changes the fact that the high-end market really likes these kinds of rooms. Fortunately, things like larger, brighter video displays, innovative projection-screen materials, digital room correction, and way more sophisticated lighting and shading control are helping to tame what would have until just a few years ago been impossible spaces for watching movies at any real level of quality.

 

But advanced tech can’t do everything it takes to make a room exceptional, or even acceptable. Which is why we wanted to talk to Haas about what he does to bring these often resistant spaces into line.

—Michael Gaughn

Media rooms can vary dramatically but clients are looking for great performance regardless or they wouldn’t be engaging you. How do you typically handle something like that?

One of the first steps we always employ is understanding from the homeowners how they and, if applicable, their family use their homes—or how they intend to use it, if it’s a new home. Will they all gather in the media room at the same time to watch a movie? In that case, it’s more about dealing with the quality and not so much worrying about whether the sound spreads to the kids’ bedrooms.

 

 

To ensure the acoustical quality of a media room, I would think it would be crucial for you to be brought in early in the planning for a new home or a renovation. Otherwise, you could be dealing with a badly compromised space. Are you usually advising from the beginning or do you find yourself having to make do?

That’s a great question because it really is all over the map. More often than not, the architectural design and interior design are already well underway or nearly completed; or worse, it could be that the construction has already started. And as 

Acoustic Designer Steve Haas on Media Rooms

This multi-use media room in Connecticut contains a home theater . . .

sheetrock starts going in, the homeowner gets a sense of just how much this house is going to sound really “bouncy”— reflective and reverberant—and maybe they should get somebody to deal with these spaces.

 

That happened to us with a project in Westchester County recently. It was a gut renovation well underway; and that’s when the homeowner just realized, “Wow, we really need somebody.” We had to come in and do a lot of massaging to the interior design and the architectural design to 

Acoustic Designer Steve Haas on Media Rooms

. . . billiards lounge . . .

get what we wanted.

 

That project had two different rooms—a two-channel listening room and a media room that were both very open to the surrounding spaces, pretty much flanking the kitchen and breakfast-nook area. The entire right wall of the two-channel room was stone, surrounding a fireplace—which, of course, there’s nothing we can do about that—and the media room itself had a lot of glass, very much glass. So we’re always dealing with compromises in situations like that.

Acoustic Designer Steve Haas on Media Rooms

. . . and recording studio. Unique acoustic treatments and acoustically transparent finishes—including metal mesh, micro-perforated clear shades, and both exposed and concealed wood diffusion panels—were employed to achieve the desired aesthetic and acoustic performance. (photos courtesy of Audio Command Systems)

A lot of luxury homes, especially out west, favor very open floorplans and almost exclusively hard surfaces like wood floors, stone walls and fireplaces, and floor-to-ceiling plate-glass windows. And often the client wants their great room to double as a media room, which is usually the least conducive space in the home. That has to be a worst-case scenario for you.

We’ve certainly worked on rustic media rooms in Colorado, Utah—all that part of the country. And there are solutions, like monolithic plasters and 

micro-perforated woods, that can be used in an open-plan home to at least tame the sound, to help ensure it’s not just one echo chamber, one reverberant nightmare bleeding into the rest of the home. Also, trying to achieve as much tonal balance in the way the architectural materials are absorbing sound between low, medium, and high frequencies is essential. You have a fair chance of at least being able to enjoy a controlled room, even if it’s not dialed in with the level of finesse we would have in a dedicated room in a different type of architecture. It’s really important to understand that not every architectural style is going to lend itself to a fabric-wrapped room.

 

 

Home theaters are designed to be isolated, but in an open floorplan, the great room is often the physical center of the home. I would imagine you have to worry as much about the sound bleeding into the rest of the house as you do about the quality of sound in the room itself.

Because media rooms are outside that dedicated area, we often design them as part of the whole-house acoustic design. So we’re looking at various spaces throughout the home, not just for a high level of performance, but basically for general acoustic privacy.

 

If somebody wants to play a movie loud or have other types of entertainment, such as watching TV or playing video games, there’s really no way to stop that sound from completely taking over a good portion of an open-plan home. And that’s where we really have to think about the compromises. We have to think about it very holistically in terms of the

usage of the home.

 

Are we able to implement engineered absorptive/diffusive treatments, like we would in a dedicated room? Sometimes, but often not. Your left wall relative to the screen might be completely treatable because it’s just going to be bare sheetrock, but then the right wall is that huge stone fireplace we talked about.

 

 

Is it more important to get sonic symmetry—which is usually one of the key criteria when designing a 

Acoustic Designer Steve Haas on Media Rooms

Steve Haas with the Father of Home Theater (and
Cineluxe contributor), Theo Kalomirakis

listening room, media room, or home theater—or do you just place treatments where you can and not worry about the symmetry?

I would argue that symmetry is extremely important because even if the sound is compromised, you don’t want it to change drastically when you go from left to right across the room. As long as we can treat other surfaces (ceilings especially) and achieve overall control, this approach can get decent results.

 

 

A lot of these homes have large, open stairwells that feed directly into the great room area. That has to be a particularly big challenge.

That’s always a very important issue to raise, and there are a lot of times where the designers will say, “You know what? Yeah, we have to close off the stairwell. Otherwise, they will hear everything everywhere in the home.” And you can do that when you’re in early enough in the design process. There are creative ways to design contained stairwells that provide that type of sound control.

Acoustic Designer Steve Haas on Media Rooms

Steve calibrating a 38-channel audio system in a large event space for a private residence in Sydney, Australia

Some people would say that digital room correction—not the kind found in mass-market receivers but the higher-end implementations—can compensate for a lot of the problems you’ve been describing with media rooms.

Well, it can fix a lot, certainly—or I shouldn’t say “fix,” because it’s a matter of just taking what is already there and reducing what the physical space has done to compromise it. If you know your speakers are behaving fine out of the box, then you have to understand what makes them not perform optimally at those particular seats. And that has a lot to do with their interaction with elements of the room that aren’t perfectly controlled because of the compromises we’ve been talking about.

 

With today’s processors, whether it’s mid-level or certainly the higher-end processors, there are a lot of tools in place to do this. But it cannot be done fully in an automated fashion even with the best processors. They just don’t work well without somebody with trained ears and skills looking at their results and saying, “OK, that got me a fair distance forward. Now here’s what we need to do to tweak it. Here’s how to optimize it with a manual calibration to get that last 10 to 20%.”

 

It’s easy to understand why the processors some manufacturers claim are perfect and get perfect results really don’t. There are things acoustically that can be overcome with electronics and there are things that just cannot. If you have a room that is

all hard and reflective surfaces, whether it’s glass, sheet-rock, stone, you name it, there’s just nothing a processor can do to overcome the excessive reflections and reverberations.

 

Yet there are those who will claim they can. The end users and AV integrators really need to understand that you can bend the laws of physics, but you can’t break them. If you have speaker interactions with nearby hard surfaces that cause what’s called “comb filtering”—short delayed reflections that combine with the direct sound to cancel a series of frequencies—no  processor eliminate that. That is absolutely a physical correction that needs to be made to the interaction of the speakers with the surrounding room and the surfaces close to the speakers.

 

 

So, when you talk to a client, what do you tell them is the best you can achieve with a media room, compared to a dedicated home theater?

We can say that on a scale of 1 to 10, that it’s not going to be a 10. No media room I’ve ever worked on is a 10—essentially flawless acoustically. Now, do we have solid 9’s? Absolutely, because we’ve worked hard with the entire design team to make intelligent compromises that achieve a well-balanced experience that thrills the end user.

 

If something is going to be well below an 8 or 9, then the client needs to understand that. They need to get to the point where they say, “I’m OK with a 6 or 7 because I’m gaining all these other functions. I have these beautiful vistas of the mountains out this glass window. The stone fireplace is just over the top. Wonderful. All these things.” We have to always remember it’s not just about what we do and what we bring to the table. It’s the overall experience. And people sometimes are OK with balanced compromises.

 

 

Since you often find yourself being brought into a project later than you would prefer, what needs to happen to change that?

First of all, it’s educating homeowners and architects on what happens when you ignore the need for proper acoustics. And fortunately there are a lot of case studies, a lot of horror stories, we can share that say, “OK, here’s what happens when you ignore acoustics in any regard.” Either the quality in some cases or the privacy, the isolation of just general noise, allowing exterior noise or mechanical equipment noise to infiltrate the rest of your house.

 

I really do think the answer lies with the architects and designers because they have to be on board with saying, “You know what, we don’t want our houses just to look good or feel good. We want them to sound good as well.” And that is a stretch for a lot of visual designers. That’s no secret because it’s just not something they’re used to. And they also have a lot of preconceived notions about what it means to implement acoustics.

 

What we’re trying to do is basically quell those misconceptions to say, “There is a way to do this without turning your beautiful house into a science project or burlap panel or whatever.” The biggest challenge and biggest effort one can make is to let the designers understand that we can give homeowners a much better sensory experience and also add to the wellness factor of their home from multiple senses and not compromise in any appreciable way.

Michael Gaughn—The Absolute Sound, The Perfect Vision, Wideband, Stereo Review,
Sound & Vision, The Rayva Roundtablemarketing, product design, some theater designs,
couple TV shows, some commercials, and now this.

Does Watching Movies Really Matter Right Now?

Does Watching Movies Really Matter Right Now?

What we do seems frivolous at times like this, but is it?

 

A time like this elicits many thoughts and emotions. Naturally, concern ranks high on that list. However, self-reflection may also arise. What can we do to help? Are we doing enough? How about our work. Is it relevant? Is it frivolous?

 

As a private-cinema design and engineering firm, this last consideration resonates. In the gamut of career paths, from first responders, doctors, nurses, and public-safety providers to those of us providing entertainment solutions, we might think of

ourselves as being on the unimportant end of the spectrum. Certainly, in times of immediate crisis, screening a film or the availability of background music are not urgent needs.

 

Not everyone can be on the front lines. Just like theater designers and integrators, most who own or are considering private cinemas or other similar entertainment amenities are more of the entrepreneur type. Entrepreneurs’ contributions to society include providing careers, stimulating the economy, and providing products and services that enrich the lives of others. Where would we be without these things? All of us look forward to when we can get back to business and on with our lives.

 

And what about that? What our lives will look like is an important consideration. Undeniably, they will be different. How so is yet to be determined. That determination is in many ways up to us. Individually, we can choose to shrink away, following recent trends even further into an isolated lifestyle, connecting electronically but leaving more tangible contact in the past. Too risky. 

 

And what about those pursuits that feed our happiness—fine dining, art, and entertainment, among others? These will change for certain. But it will serve no good purpose to compromise on life well lived. It is vital that we continue to pursue and celebrate the best that life has to offer. Our meals should be exquisite; we must find beauty and appreciate it. We are created to celebrate and enjoy. 

 

But not alone. A 75-year Harvard study tells us that it is the quality of our relationships that counts. Good relationships keep us healthier, happier, and living longer. So, it isn’t just about finding things to enjoy, it is about enjoying them with those we love. We know this but we don’t always act on it. We are more likely to grab a bite on the run than prepare a meal to enjoy together. Plug in our earbuds instead of going to a concert and stream the latest movie on our device rather than go out to the movies.

 

Next to dining together, group entertainment activities are the most important times for building togetherness. Unfortunately, these facts do not bode well for us given 

today’s trends. It seems the mad rush to do more has resulted in our doing less of the more important things. We do not take the time to savor a meal together. Instead we rush to a convenient eatery to sit at the same table miles apart from others as we check email, social media, and text before rushing off to the next pressing activity. Would it make a difference if the dining experience were more compelling—a meaningful occasion, capable of breaking the spell of our urgent lives, enabling us for a time to pause, connect, and enjoy the time and each other? 

 

Applying this logic to our entertainment activities, we can see that private cinema has much to offer. First of all, movies are intended to draw us away from the whirlwind of life and into a story. Using our emotions, thoughts, and senses, film is the one artform capable of engaging us so completely. The result is a connection.

Does Watching Movies Really Matter Right Now?

This CEDIA Gold Award-winning private cinema was designed and engineered
by Paradise Theater and installed by DSI Luxury Technology

Even in a public theater, strangers laugh, curse, and cry together. How much moreso if the audience is family and friends gathered together. The private cinema experience itself becomes an event and a destination. Important if we are to realize the benefits of gathering. It is too easy to multi-task our way through casual gatherings, thus failing to connect. Choosing to come together for the purpose of enjoying an anticipated movie or program and sharing that experience is singularly bonding. What’s more, private cinemas, when well done, are particularly attractive spaces. It’s easy to lose track of time when ensconced within these environs. A private cinema is an altogether appealing diversion!

 

None too soon, there will come a time for us all to put this social distancing behind. In the meantime, we can all do our part to stay safe and make those first responders’ and public servants’ jobs easier. Those of us in business can be diligent to maintain our enterprises and supply the jobs, products, and services we have under our purview.

 

We in the entertainment-related industries can take heart that what we do will be essential to our society as we recover. Who knows, we might have some impact in doing it better this time around as we offer ways to make our homes into places that draw us together rather than staying apart. Where our love of life, beauty, family, and friends can be more contagious than any virus. After all, it is transmitted with laughter and a smile. Both pretty common occurrences in a private theater.

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.

Expandable Media Room Systems

Expandable Media Room Systems
The Cineluxe Guide to Media Rooms

When making a choice between a multi-use media room system and a dedicated home theater, it’s important to remember that each approach has its own upsides and downsides. With a dedicated home theater, every element of the room—from décor to seating to lighting and of course the AV gear itself—is selected, engineered, and installed with one goal in mind: An

optimized moving-watching experience.

 

With media rooms, that isn’t the case, of course. Movie night is just one among innumerable activities you’ll likely use the room for. So dialing in that Nth degree of performance isn’t always as predictable a process.

 

On the other hand, media rooms have one big benefit most dedicated home theaters lack: Easy expandability and upgradability. And that’s what we’re focusing on in this second installment of our ongoing series on complete media-room solutions.

 

Last time around, we started with the most basic media room system imaginable: A great TV, a high-performance soundbar, and a single source component. This time, the focus is on similar systems that leave you a little more room to grow.

 

Two Types of Expandability

What does that mean, though, “room to grow”? It’s an acknowledgment of the fact that many luxury soundbar solutions are designed as the starting point of a larger entertainment system.

 

But that manifests itself in two different ways. In some cases, the soundbar you install beneath your TV can be augmented with additional speakers to form a room-filling surround sound home cinema speaker system. In others, the soundbar functions as the main speaker in a larger multiroom distributed music system. Which approach is right for you is a discussion you and your integrator should have, but we’ll be digging into both.

An Upgrade to Real Surround Sound

In our first post, we mentioned luxury manufacturers like James Loudspeakers and Leon Speakers, whose soundbars require external amplification and sound processing. This may seem like an unnecessary hassle, since most soundbars come 

packing their own amps and decoding and such. But one big upside of the “passive” soundbar approach (so-called because speakers with built-in amps are referred to as “active”) is that you can grow the system exactly as you would any other speaker system.

 

Say you start with a Leon Horizon speaker custom-made to fit the exact dimensions and aesthetic of your TV. Since you’ll already be using a surround sound processor (like Anthem’s AVM 60 or Lyngdorf’s MP-50) and matching amps to power the soundbar, it’s not that difficult at all to add additional speakers now or down the road. You might want to add a couple of Leon’s Vault in-wall speakers near the back of the room for an elegant (and practically invisible) surround sound solution. You could also go one step further 

and add two or four of the company’s Axis in-ceiling speakers for a complete Dolby Atmos speaker system, all without replacing the soundbar under your TV.

 

Granted, your system will start to get a little complicated to operate at this point, so you’ll likely want to add an advanced control system from one of the Big Three automation manufacturers—Control4, Savant, or Crestron—along with an accompanying remote control.

 

The Foundation of a Whole Home’s Worth of Music

If, on the other hand, you read all of the above and thought, “Nah, I’m shopping for soundbars because I want simplicity,” that doesn’t mean you’re totally cut off from future upgrades or expansions. With many luxury manufacturers—Bowers & Wilkins and Bang & Olufsen, just to name two—the soundbar actually becomes the centerpiece of a wireless multiroom music-distribution system (think Sonos, just a lot fancier).

 

Andrew Robinson has already written extensively about his experience with B&W’s Formation Duo wireless speakers. The Formation Bar is part of that same line, which means you can not only link them together and share music in every room of the house at the touch of a button, but you can also mix and match components in the line. The same subwoofer Andrew used to augment his stereo speakers—dubbed the Formation Bass—can be paired with the Formation Bar to add a little extra kick to the bottom end.

What’s more, the Formation Flex—the smallest speaker in the Formation lineup—can be mated with the Formation Bar to create a complete surround sound setup without the need for any additional wires. Granted, it’s not as expandable as the surround sound configurations listed above, in that you can’t do Atmos or expand past 5.1 channels at all. But given the multiroom capabilities of the system, that may be a tradeoff worth you’re willing to make.

 

Putting It All Together

As you can see from all of the above, things start to get a little more complicated at this level, but not too much. So if you’re looking for a simple soundbar media room setup that’s a little more flexible and expandable than the system covered in our first post, you first need to decide whether you want to expand within the room you’re in or outward into the rest of the home.

 

If it’s the former, a top-tier OLED or LED TV plus a James Loudspeaker or Leon Speakers soundbar, paired with a good surround sound processor and amp, gives you plenty of room to add additional speakers as you see fit. Add an advanced control from the likes of Control4, Savant, or Crestron, and your movie nights will be better than ever.

 

If, on the other hand, multiroom music is more your speed, a good TV plus a Bowers & Wilkins Formation Bar and Formation Bass subwoofer (plus a couple of Formation Flex speakers, if you want surround sound) will not only elevate your movie-watching experience, but will also let you tap into one of the most sophisticated, stylish, and high-performance distributed-music systems on the market today.

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.

The Cineluxe Guide to Media Rooms: The Basics

The Cineluxe Guide to Media Rooms: The Basics

photo by John Frattasi

It’s easy to think of a media room as a low-performance or “good enough” entertainment space with a cheap TV and a Best Buy soundbar—a sort of glorified version of the old family den or man cave. To put it another way, there’s this pervasive notion that to enjoy movies at home to the fullest, you need to either install a dedicated home theater or you can settle for 

second best.

 

That doesn’t have to be the case, though. As I’ve argued plenty of times in the pages of Cineluxe, you can actually build a high-quality media room space that legitimately qualifies as a home cinema experience. If you have a home office, master bedroom, kids room, or communal living space that you want to upgrade into a fantastic moving-watching space, you can totally do that.

 

 

In our ongoing Cineluxe Basics series, I’ve covered all of the things you need to keep in mind when doing so, but those articles deconstruct the modern media room a piece at a time, i.e., what you should think about when picking a TV and what you need to know about surround sound preamps. They don’t really give you a holistic overview of what a complete media room system looks like. So, if you’re looking to convert your home office or kids’ room into a top-notch movie-watching space for the entire family without ripping out all of the walls and starting from scratch, you may be left wondering how far you need to go.

That’s where this new series comes in. Over the next few posts, I’ll be painting a picture of what a complete media room system looks like in terms of electronics, starting with the simplest of all high-performance luxury media room systems. In other words, a system that will have minimal impact on your décor, but maximal impact on your movie-watching enjoyment. And despite the pithy intro, I think a great TV and a really high-end soundbar is a great basis for such an essential system.

The Cineluxe Guide to Media Rooms: The Basics
WHAT KIND OF TV, EXACTLY?

That depends, really. We at Cineluxe consider home cinema to be a shared experience, so we think any good media room display should be big enough to give at least two people a viewing angle of 40 to 45 degrees. So, if you’ll just be watching your movies with your significant other, and assuming you’ll be sitting no further than six or seven feet from the screen, a 75-inch TV should be sufficient. If you have more viewers on a regular basis or you sit further away, it’s probably better to upgrade to an 85- or even 98-inch class display.

 

Splitting the difference, we think something like Sony’s Z9G Master Series 8K LED TV is a good recommendation. In terms of technology, it’s ahead of the curve. In terms of design, it’s the leader of the pack, and with its built-in Android TV operating 

The Cineluxe Guide to Media Rooms: The Basics

the Kaleidescape Strato S movie player

system, the only source device you’ll really need for a complete luxury entertainment system is a Kaleidescape movie player.

 

Of course, your local integrator may not be a Sony dealer, but if not, chances are good they sell 

LG instead, whose Signature Z9 88-inch OLED is a step up in terms of design and technology, but also a big step up in price.

 

 

IS A SOUNDBAR REALLY ENOUGH?

There’s this pervasive myth that soundbars are nothing more than a compromise for people on a budget looking for a down-and-dirty surround sound solution. And that’s still largely true in the $200-and-below range. But these days, there are any number of truly high-performance soundbars that can deliver shockingly good sound.

 

If you’re simply looking for big, room-filling, impactful Dolby Atmos/DTS:X surround sound without running wires through the walls or around the perimeter of the room, Sennheiser has been turning heads in recent months with its new Ambeo Soundbar, an all-in-one sound solution that delivers 5.1.4-channel audio for $2,499. You might consider adding a subwoofer 

to the mix if you just can’t abide anything less than the deepest, hardest-hitting bass, but it’s not necessary. And if your local integrator doesn’t carry the Ambeo, the Yamaha YSP-5600 and Sony HT-ST5000 soundbars also deliver cinematic sound in a simple package. (Although, to be fair, neither of those is quite as technologically advanced as the Sennheiser.)

 

Luxury speaker manufacturers like James

The Cineluxe Guide to Media Rooms: The Basics

the Leon Speakers Horizon soundbar

Loudspeaker and Leon Speakers also make some truly gorgeous soundbars that, in some cases, can even be custom-made to perfectly match the width of your TV. They may be a little more complicated to set up, since they do require amplification, but if utter aesthetic sophistication is important to you, they’re definitely worth a look.

 

In my next post, I’ll start digging into what a slightly more elaborate—and indeed expandable—media room system looks like. But if you’re just looking for the basics, and if you’re looking to minimize the disruption to your design aesthetic, the Sony Z9G Master Series paired with a Sennheiser Ambeo Soundbar and a Kaleidescape movie player, properly installed and calibrated, will give you one heck of a movie-watching experience at home.

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.

Media Rooms Come of Age

Media rooms have a pretty bad reputation. So bad, in fact, that anyone who really cares about quality usually hesitates to go down that path as an alternative to a dedicated home theater. And that hesitation used to be justified because media rooms were inevitably compromised—mainly by small TV screens, unattractive, elaborate speaker systems and their inevitable 

profusion of cables, lousy acoustics, too much ambient light, and primitive room control.

 

But if you haven’t checked out the media-room market in the last five years or so, you might be surprised by how dramatically these systems and spaces have improved, and that it’s now possible to have a media room that can fit in well with the flow of your household with practically no compromises.

 

Note that I said “practically no.” Media rooms can’t yet achieve the level of playback quality a dedicated home theater can, and maybe never will. But for anyone who doesn’t want their primary entertainment space sealed off from the rest of the home, or only wants a modest setup but also wants a better-than-movie theater experience, or just doesn’t have the room for a standalone theater—which is practically everyone living in Manhattan, no matter how well-off—a well-designed and installed media room no longer represents a distant second-best solution.

 

It could even be argued that some of the recent media-room collaborations between architects, designers, and integrators (such as the one shown at the top of the page) represent the real cutting edge of current home entertainment.

 

So what’s changed that media rooms are now poised to finally shed their stigma?

 

♦  Reference-quality playback has become standard-issue in TVs, in smaller speaker setups, and with the movies and series you can readily access via download or streaming.

 

♦  TV screens have gotten a lot better, a lot bigger, a lot lighter, and a lot more stylish.

 

♦  Control systems are now much more sophisticated, flexible, and comprehensive.

 

♦  Lighting and shade control, in particular, have become more common and far more versatile.

 

♦  The best digital room-correction systems can now tame and optimize acoustically compromised spaces.

 

♦  Improvements in downloading and streaming, and in the picture and sound quality of TV series and video games, have created a demand for spaces that maximize the experience of all forms of entertainment and are responsive to the entertainment needs of all members of the household.

 

♦  Some interior designers have stopped holding their noses and decided to devote some of their considerable talent to making these rooms functional, attractive, and seamlessly integrated into the rest of the home.

 

♦  Some high-end integrators have moved beyond the general disdain for media rooms and now see them as the challenge and opportunity they are.

 

The Cineluxe Guide to Media Rooms: The Basics” is the first in a series of articles that will provide you with all the information you need to decide if you want a media room and how to make it best suit your needs. We’ll walk you through a variety of possibilities—from simple, no-compromise setups for a smallish secondary room to far more elaborate reference-quality systems for large, open-plan communal spaces. And we’ll do it without going deep into the tech. The goal is to provide you with enough of the essential concepts, facts, and context so you can convey to your integrator et al. exactly what you want to achieve and get a good sense of whether they’re up to the job.

 

But maybe the most important piece of advice we can pass along doesn’t have anything to do with gear, or content, or lights or shades, or any of that. While it’s good to have the strong core knowledge we’ll be providing, your biggest priority should be finding an integrator who “gets it.” For any candidates you’re considering, study their website thoroughly—especially their portfolio; if possible, visit one or more of the media rooms they’ve created. And listen to them carefully to be sure they’re not taking on the assignment grudgingly but are willing to embrace the challenge and create an exceptional multi-use entertainment space for you and your family.

 

So, should you still opt for a dedicated home theater if you have the room and aren’t willing to settle for anything less than the best? Absolutely. Should you be for one second embarrassed or ashamed if you decide to go with a media room instead? Absolutely not.

Michael Gaughn

Michael Gaughn—The Absolute Sound, The Perfect Vision, Wideband, Stereo Review,
Sound & Vision, The Rayva Roundtablemarketing, product design, some theater designs,
couple TV shows, some commercials, and now this.

AN INNOVATIVE MEDIA ROOM SPACE

The New York City apartment shown at left converts into a DCI-compliant theater at the press of a button; and yet there is no evidence of the system when it’s not in use. Almost every inch of wall space is either a reference-quality speaker or an acoustic treatment, all of it covered in custom-made acoustically transparent fabric.

 

Photos courtesy of Steinway Lyngdorf

REVIEWS

Casino Royale (2006)
A Life of Speed: The Juan Manuel Fangio Story
Bloodshot
Harley Quinn: Birds of Prey
Altered Carbon (Season 2)
Onward

ALSO ON CINELUXE

Acoustic Designer Steve Haas on Media Rooms
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The Cineluxe Hour

2019: The Year in Luxury Home Entertainment

2019: The Year in Luxury Home Entertainment

It might not have felt like it, but home entertainment changed in a big way in 2019. And, as Dennis Burger points out in “Beyond Discs & Cinemas,” that monumental shift wasn’t due to any technological breakthroughs or new formats, standards, or must-have devices. The arrival of 8K, which would have represented a major seachange in an earlier era, caused barely a ripple.

 

What happened instead was that the stars aligned—in other words, a variety of existing technologies reached just the right point of maturity to radically change how we experience entertainment. Downloading and streaming, until now maligned as the feeble stepchildren of the moviewatching experience, emerged decisively and undeniably as the future of movies.

 

Check out John Higgins’ post for a recap of this pivotal year in the streaming world. The focus here is more on what it took to achieve a state-of-the-art viewing experience at home in 2019, and how expanding beyond AV has allowed luxury integrators to become far more responsive to how people actually live.

 

Home Theater or Media Room?

Just as downloading and streaming are no longer dismissed out of hand, the once lowly media room has recently made great strides toward respectability—due in part to forces that have little to do with the technology that serves up the entertainment 

experience. And while many had declared the dedicated home theater room dead—or at least in rapid decline—there are signs of a legitimate resurgence.

 

It might seem counter-intuitive to say that both home theaters and media rooms are on the rise. And supporters within each camp will tell you their favored approach is way in the lead. But, in the luxury market at least, it seems to be a dead heat.

 

One big sign of change is that media rooms are becoming commonly referred to as multi-use spaces. “Media room” was a godawful moniker; “multi-use space” really isn’t an improvement, except that it emphasizes the room’s versatility instead of suggesting that it’s a slave to “media” (whatever that means). 

 

Multi-use spaces are nothing new. People have been setting up entertainment systems in rec rooms, dens, family rooms, bedrooms, and elsewhere since the advent of the Victrola. The arrival of TV didn’t do much to change that—and, to be honest, neither did the arrival of home theater.

 

It took the emergence of non-AV domestic automation like sophisticated and responsive lighting and shade control to make multi-use spaces a viable alternative. And 2019 was the year automated lights and shades became pervasive and flexible enough to help turn non-dedicated spaces into legitimate viewing (and listening) environments.

 

To give the AV world its due, the arrival of more designer-friendly acoustical treatments and, especially, the emergence of ultra-customizable, professionally-deployed digital room correction also had a lot to do with putting high-performance multi-use rooms on the map. So did super-sized flat-panel TVs, which can provide a brighter (and some would say better) image than a traditional front-projection setup.

 

But let’s step back a second. While multi-use spaces might be on the verge of offering the performance of a dedicated home theater, do you really want to be blasting out the Endgame finale at reference volume in the middle of your home at 1 in the morning? And do you really want various family members wandering through the room while you’re absorbed in an episode of The Crown?

 

For as good as multi-use spaces have become, they still can’t provide the uninterrupted focus on the viewing experience that a home theater can. And, even though they’re on the cusp, it’s still going to be a few more years before a multi-use room can compete performance-wise with the best dedicated theaters.

 

Ironically, we can thank the tremendous improvements in streamed audio and video for the home theater’s rebirth. People who know little or nothing of LaserDiscs or DVDs are beginning to realize that downloads and streams are rivaling or surpassing what they can experience at even the best movie theaters, and they want rooms that can take full advantage of what internet delivery has to offer.

 

Also, no matter how cleverly a multi-use space is designed, it still clearly signals that it serves more than one master. To have the ultimate entertainment experience, and to create a space that strikingly and unambiguously expresses the value of that experience, you have to have a dedicated room.

 

The Art Wall Revolution

I don’t expect many—or any—of you to buy into what I’m about to say, but please suspend your disbelief for a moment and allow that video art walls (a description as ungainly as “media rooms” or “multi-use spaces”) will eventually have a bigger impact on luxury home entertainment than multi-use spaces and home theaters combined.

 

Here’s why. Architects and interior designers have traditionally held their noses throughout the process of designing, building, and installing entertainment rooms—and for good reason. As much as AV companies might like to think their products are designer-friendly, the truth is that almost everything they put out has all the visual appeal of a WalMart boombox.

 

And creating entertainment rooms means having to deal with tech—a lot of it. AV enthusiasts would have you believe that gear has gotten more user-friendly—it hasn’t. It’s just found new and more intricate ways to be cumbersome and unpleasant. And interior designers have a longstanding, and not unearned, reputation for being technophobes.

 

Also, every home theater or multi-use space is essentially a unique machine. The greater the demands made on it, the more complicated that machine 

becomes. And unless you’re working with an integrator who’s something of a mechanical genius, you’re likely in for a decent amount of trial and error before your room is finally up on its feet.

 

Lastly, it’s hard to put a unique visual stamp on a home theater and especially on a multi-use space. Feeding generic content into your home in mostly generic ways tends to drain any meaningful personal touch from the environment—one reason why entertainment rooms tend to fall into disuse over time.

Video walls, on the other hand, are an opportunity to showcase unique, curated works of art via installations that can be seamlessly integrated into the decor (and structure) of a home. Interior designers love that idea; so do architects. And homeowners will too once they realize they can use these stunning installations to display something other than the usual mind-numbing mass entertainment.

 

This isn’t the place to provide more than just a glimpse of this emerging phenomenon, but it’s worth keeping an eye on—partly because, unlike entertainment-based tech, it’s a harmonious and complementary instead of disruptive and somewhat arbitrary experience. And no matter how they evolve, art walls will always remain a luxury affair.

 

Today & Tomorrow

With 4K HDR content and displays arriving solidly in the middle market, 2019 was also the year reference-quality playback made its way to the masses. Ironically, it was also the year luxury integration decisively separated itself from the world of trunk slammers, geek squads, and other purveyors of “good enough.”

 

Expect 2020 to be the year when professional-grade digital cinema systems, offering picture and sound exceeding the world’s best movie theaters, make serious inroads in luxury entertainment spaces. Expect to see 8K used not so much to create higher-resolution content as to significantly improve the quality of existing content. And expect to see interior design finally welcomed into entertainment spaces—and designers finally willing to accept the invitation.

—Michael Gaughn

Michael Gaughn—The Absolute Sound, The Perfect Vision, Wideband, Stereo Review,
Sound & Vision, The Rayva Roundtablemarketing, product design, some theater designs,
couple TV shows, some commercials, and now this.

CINELUXE TRENDSETTERS

the most influential people in luxury
home entertainment on 
the trends
that defined 2019

Sam Cavitt, Paradise Theater
on how home theaters are better than movie theaters
and the importance of 
dedicated theater rooms

Ed Gilmore, Gilmore’s Sound Advice
on tunable lighting
, voice control, apps vs. control
systems, 8K, and art walls

Al Patel & Cortney Combs, Enhanced Home
on 
media rooms, outdoor entertainment systems,
designer-friendly tech, 8K, and art walls

Cory Reistad, SAV Digital Environments
on 
media rooms, bulletproof installation, downloading
vs. streaming, and automated lighting

Tim Sinnaeve, Barco Residential
on the emergence of video art walls, and their influence on
artists, integrators, architects, and interior designers

Katherine Spiller, Steinway Lyngdorf
on 
designer-friendly tech, luxury audio systems, room correction, digital cinema, and no-compromise media rooms

Eric Thies, DSI Luxury Technology
on 
the return of home theaters, 8K, art walls, and the
sad lack of integration standards

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2019: Beyond Discs & Cinemas

Beyond Discs & Cinemas

2019 was the year in which nothing new happened in the audio/video marketplace, and yet everything changed in the world of home entertainment. We saw no meaningful new AV standards or formats, unless you count the fact that a handful of 8K TVs and projectors hit the market. And we don’t. Not yet. We also saw Dolby expand the capabilities of Atmos in the home, 

upping the number of speakers that could be supported in media rooms or home theater. But that’s more evolution than revolution.

 

So, what changed? In a sense, you could say market forces that have been simmering for a while finally boiled over, and we all had to acknowledge that, whether we like it or not, commercial cinemas are no longer the gold standard by which we judge our movie-watching experiences. 

 

Why Go Out to the Movies?

Granted, blockbuster franchise films still dominate the box office, with billion-dollar worldwide hauls almost being taken for granted. The thing is, though, that’s really the only thing drawing us to the local cineplex en masse anymore. Scour the Top 20 list of highest-grossing films for the year, and you’d be hard-pressed to find anything that isn’t a superhero flick, Star Wars film, Disney movie, or sequel/ remake/reboot of some sort.

 

That doesn’t mean these are the only sorts of films we’re watching anymore. Far from it. It’s simply that these big event films are the only ones that really offer anything we can’t experience (arguably better) at home. They’re meant to be seen in crowds. They’re designed to trigger our popcorn-binging reflex. They are, in short, events.

 

With but a handful of exceptions, anything smaller, more meaningful, or contemplative in the world of cinema is far more likely to find its audiences on sofas or home theater recliners. And the underlying reasons for this are numerous (and a long time coming), but I would argue that the reason this trend hit a tipping point in 2019 is that 4K finally became mainstream. In fact, I would go so far as to say that it’s difficult to buy a new TV now at any price point that doesn’t offer a better image than you’ll find at your local cineplex, and that has a lot more to do with HDR than anything else. Granted, the device on which you do your streaming makes a big difference in terms of the quality of presentation, but who could have imagined just four or five years ago that we would soon be able to stream truly reference-quality imagery and sound into our home cinemas by way of a $99 box and a $15-a-month subscription service? 

 

The display is only half the equation, though. All of those people coming home with new UHD/HDR TVs are also discovering that there’s simply a ton of amazing-looking content no more than a click and a stream away. Sure, you could argue that Netflix has become the equivalent of the $5 DVD bin at Walmart, but the service is also the only place you can watch Martin Scorsese’s new film, not to mention David Attenborough’s latest planet-spanning documentary series

 

Ding Dong, The Disc Is Dead

The rise of new streaming services like Disney+ late this year further nail the coffin closed on commercial cinemas as the pinnacle of popular entertainment. But there’s another mainstay of the movie world that is taking an even worse beating as a result of the rise of streaming. This was the first year since 1993 that I didn’t buy a single movie on a disc of any sort. Discs have defined my entertainment experience since I plunked down $250 for thirteen pounds’ worth of LaserDiscs dubbed The Star Wars Trilogy: The Definitive Edition late that year. When I purchased my current home in 1998, one of its most appealing features was a closet off the main den that would perfectly store and conceal my burgeoning DVD collection. 

 

I’ve probably got one final disc purchase left in me—next year’s 27-disc, nine-film Skywalker Saga collection, which also, poetically enough, carries a $250 price tag and will finally bring my physical home video collection full circle, just as I begin to winnow it down. 

 

Make no mistake, though: I’ll continue to buy films for home consumption. They’ll simply be on Vudu and Kaleidescape going forward. I’m not alone in that, either. Disc sales have been on the decline since 2008 and show no sign of rebounding. We’ll almost certainly never have another disc-based home video format after UHD Blu-ray. And indeed, movie studios are already losing interest in that one (as evidenced by the fact that more and more films are receiving 4K home video releases purely in the digital domain, either streamed or downloaded). 

 

This was also the year in which completely non-traditional forms of media hit the mainstream in a big way, which has to be factored into the decline of cinemas and discs alike. A little show called Critical Role, which started a few years ago as a live-streamed home Dungeons & Dragons game, exploded into the public consciousness thanks to the most successful video Kickstarter crowdfunding project of all time  early in 2019. The eight best friends who started the show have also created a full-fledged “television network” around it, distributed mostly through Twitch and YouTube, which features shows ranging from art tutorials to video game live-playthrough/puppet show mashups to a weekly late-night talk show about painting miniature figurines hosted by that kid from Boy Meets World.

 

And I don’t mean to claim here that rolling dice and roleplaying as elves and half-

orcs is the future of home entertainment or anything, but it’s certainly part of it. The success of Critical Role not just as a show but as a network points to a pent-up desire for something different. Something genuine. And given that virtually anyone these 

some content from the Critical Role “network”

days can get their hands on near-commercial-quality video gear and upload their antics to the internet, it stands to reason that the real innovation in terms of what we view on our TVs and projectors will, in the coming years, increasingly come from the occasional lark of this sort.

 

Meanwhile, Netflix, Amazon, Apple, and other tech companies are sinking hundreds of millions if not billions of dollars into creating new films and TV shows that wouldn’t have looked out of place on cinema screens a few years ago, proving that there’s also still plenty of appetite for mid- to big-budget traditional media in all of the usual genres. It’s simply that the way we view that media has forever changed, and when the entertainment history books are written, I think 2019 will be undeniably viewed as the turning point.

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.