Home Theater

Video Options

The Cineluxe Guide to Media Rooms: Video Options
The Cineluxe Guide to Media Rooms

photo by John Frattasi

Our ongoing series on media rooms has, to this point, focused primarily on audio solutions, and with good reason. When constructing a stereo, surround sound, or Atmos audio system for your entertainment space, you’ve got a wealth of options, from soundbars to in-room speakers and discreet architectural speakers, on to completely (or almost completely) invisible speaker systems.

 

When it comes to video displays, though, the choice seems a little simpler: You either get a big TV or you get a projector, right? Actually, no, it’s not that simple. Once you move beyond media-room setups for smaller spaces like bedrooms or home

offices, where a TV is really the only way to go, you’ll want to weigh the pros and cons of a TV versus a projector. You might even find that the solution is to have both—as it is for our own John Sciacca.

 

That may spark a few questions for the uninitiated—namely “Why?” and “How?”

 

To get to the why, we need to back up to something I said in the first post in this series: We here at Cineluxe consider home cinema to be a shared experience. So, while a 75- or 85- inch TV may be more than sufficient to give two or three people sitting on a couch a panoramic viewing experience if the screen is a mere six or seven feet away, your room may be far too large for that sort of setup. If you’re 10, 12, 15 feet away from your screen, no reasonably-priced TV is going to give you and your family enough screen real estate to create a truly immersive viewing experience. A projector and screen, on the other hand, can. Quite easily.

 

So, why not just go with projection and forget the TV? To answer that, we need to remember that media rooms are also called multi-use spaces. The same room where you gather the whole family together to watch The Last Jedi may also be the room where you watch Last Week Tonight on Sunday evenings. And far be it from me to besmirch John Oliver’s looks, but do you really need to see his face at IMAX proportions? Because we’re talking about a media room and not a dedicated home theater, it should be able 

to accommodate casual watching but be able to transition to a more focused and immersive experience for more serious viewing. And depending on the size of your room, a single display may not give you that kind of flexibility.

 

Having a dual-screen setup means you can match the display to the needs of the moment. But how does it work, exactly? It usually involves a retractable screen that slides down from a hidden compartment housed in the ceiling (or in the floorspace above a room in a multi-story dwelling). Stewart Filmscreen’s Cascade is a great example, although other screen manufacturers offer their own variations on the theme: Evanesce from Elite and the gorgeous Zero-G from Screen Innovations (shown below), just to name two.

The Cineluxe Guide to Media Rooms: Video Options

Mind you, going this route does complicate things a bit, at least in terms of using your system, so you’ll definitely want to add a good control and automation system to your media room budget. This will allow you to drop the projection screen down in front of your TV for movie night at the press of a button (or the uttering of a simple voice command), and still access your source devices with a single remote.

 

And it probably goes without saying that if you’re going through all this trouble to ensure the most spectacular video presentation, you probably don’t want to rely on a soundbar for your audio experience. Instead, you’ll want to spec in all of the speakers and processing necessary for true 5.1 to 9.2.6-channel surround sound, depending on your appetite for aural immersion.

 

So, putting it all together, what would a complete dual-screen media room system look like? Combine a 124-inch SI Zero-G drop-down screen with an 85-inch Sony Z9G Master Series 8K LED TV, and add to that the sound system and sources detailed in our previous post: An Anthem AVM 60 or Lyngdorf MP-50 surround sound processor, driving three GoldenEar Technology Invisa Signature Point Source in-wall speakers, two or four GoldenEar Invisa MPX MultiPolar in-walls, four Stealth Acoustics SLR8G invisible speakers, and two Stealth Acoustics B30G invisible subwoofers. Throw in a Kaleidescape Strato Movie Player and Roku Ultra streaming media player, and you’ve got the makings of an incredible home cinema system that practically disappears when not in use. If you want to take that ethos to the extreme, you could even add a TV lift and projector lift from Future Automation to keep your gear completely hidden when not in use.

 

Tie it all together with a professionally installed home control and automation system like Crestron, Control4, or Savant, and you’ll have the power to transform your unassuming living room into your own private cineplex at the touch of a button.

 

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.

Inside a Film Connoisseur’s No-Compromise Home Theater

Michael Kobb isn’t just a casual film fan but a true connoisseur who both loves movies and savors the whole movie-watching experience. So it’s not too surprising that he’s the principal engineer of user experience for the premium movie-download service Kaleidescape, nor that he has a reference-quality theater in his Silicon Valley-area home.

 

What really sets him apart from most film lovers, though, is how deeply he became involved in the process of researching, planning, and executing his theater—a process he recently recounted for Cineluxe’ John Sciacca.

ed.

Inside a Film Connoisseur's No-Compromise Home Theater

Michael Kobb

Most people have a story about how they got involved in home theater. For me, I saw Speed on LaserDisc at a friend’s house, and that was it. What is your story?

My dad took me to visit a friend of his who had a home theater. He had a CRT projector with a ridiculously ahead-of-its-time control system called Frox with an onscreen display to control all of the components. The system looked and sounded great for the day, but ironically the thing that really stuck with me was that he had his equipment in a bookshelf on the back wall with a closet you could walk in to access the back of the gear. When I built my theater, I put the equipment in a separate room for sound reasons but I made sure to incorporate access to the back of the racks.

 

How has your theater system evolved over the years?

My first system was just a big rear-projection TV with a LaserDisc player and VCR. After that, I moved to a front projector. Then I bought my own house and planned on 

converting an existing room into a theater, but the dimensions were really wrong, making it hard to arrange seating. We basically had to restructure the house to accommodate my current theater.

 

Your space isn’t really a traditional man cave or reference movie theater, but more of a hybrid. How did that design come about?

It was really an interesting process. I hired general contractor Bob Byrne with the intention of converting that existing room, but as I was explaining the project to him, he realized that if we took out a wet bar and relocated a bathroom and a 

mechanical room, we could gain a lot of space. It went from a 13 x 19 room to 19 x 24, which was a crucial change. It required taking out a load-bearing wall, pouring a couple of footings, and putting in a steel I-beam. A lot of work, but incredibly worth it.

 

I also brought in theater designer Keith Yates, who gave me two proposals for having two rows of seats [shown at right]. One had a riser, and the other required cutting the concrete slab and excavating down a foot to lower the front row, which I never would have thought of, but was the way to go for a host of reasons.

 

I wanted a big bookcase in the room, both because I needed someplace for my books and also to make it feel more like a study than a scaled-down commercial theater. Bob designed the aesthetics of the bookcase and Keith’s team did the engineering to incorporate the center speaker and two subwoofers, air returns for the HVAC system, and acoustic treatments behind all the books. We also have acoustically transparent motorized shades that mask the outer shelves when the screen is down, to eliminate visual distractions.

A Film Connoisseur's No-Compromise Home Theater
Inside a Film Connoisseur's No-Compromise Home Theater

I requested the curved stage, having seen a similar design in a magazine. I picked tanoak flooring for it, which is a really pretty wood with a little red tone in it that fits in well with the sapele mahogany used for the bookshelves and the other woodwork, and with the rosewood on the floorstanding speakers. Originally, the boards were going to just run front to back, but Bob proposed tapering them to follow the curve, and that totally took it to a new level. If you follow the convergence point the tapers make, the really cool thing is that the focus of those boards is the front-row center seat, which is my seat.

Inside a Film Connoisseur's No-Compromise Home Theater
Inside a Film Connoisseur's No-Compromise Home Theater

A clamping system was used to hold the curved boards for the stage in place
while the glue dried so there would be no visible nail holes

Tell us about your current theater system.

Unsurprisingly, the primary content source is the Kaleidescape—a combination of the Premiere components for disc-based media and our Strato family for downloaded media and 4K content joined through a software and hardware solution called Co-Star that makes it all act like a single system. I have about a thousand movies in my collection. I also have a TiVo and a streaming player to be able to watch other stuff.

 

It wasn’t possible to have a booth or hush box for the projector, so I needed a model that was quiet. I’ve had a series of Sony projectors, culminating with a Sony 995ES. With its laser light engine and ARC-F lens, it produces fantastic bright and vivid images while still being reasonably quiet.

 

Video processing is handled by a Lumagen Radiance Pro, which works with the motorized screen-masking system from Screen Research and also provides the HDR tone mapping. The screen is 96 inches wide, or 110 inches diagonal in a 16:9 aspect ratio, but masks down to 104 inches diagonal for 2.4 aspect-ratio films. I went with a motorized screen because I

Inside a Film Connoisseur's No-Compromise Home Theater

Trinnov MC processor was used during construction to create two
separate calibrations for the theater—one for group viewing and one
optimized for solo listening from the center seat

wanted this room to be multipurpose, with the screen out of the way of the big bookshelf up front when I’m not watching movies.

 

The front speakers are Aerial Acoustics, and the subwoofers are a mix of three Seaton SubMersive HP subs and four Velodyne SC-IWDVR in-wall models, three of which are in the ceiling. I’m currently upgrading my audio processing from the Trinnov MCwhich handles the system’s room EQ and speaker correction, to the Trinnov Altitude 16.

A Control4 system operates everything, including automated screen masking and lighting scenes, triggered by the Kaleidescape system. I have to laugh because the thing that really floors new visitors to my theater is that the lights come up by themselves when the end credits start.

 

How about acoustic treatments?

The acoustics were designed by Keith Yates and his company. All the walls and the ceiling are covered with fabric that conceals the acoustic treatments and the surround speakers.

 

I spent lots of time auditioning fabrics because the material had to be aesthetically appealing, meet certain acoustical characteristics, and not reflect light coming off the projection screen. I bought extra fabric and have it squirreled away in case it’s ever damaged or we have to take fabric down for a repair or upgrade.

 

Keith’s team also designed ultra-quiet HVAC for the room, and sound isolation. The theater achieves an NC-14 noise rating with the HVAC and the projector running, which is comparable to many recording studios. Even the lighting transformers are remote-mounted to eliminate hum. Bob also took great care to ensure that there would be no rattles or vibrations. All the construction is glued and screwed rather than nailed, and even the speaker wiring is glued to the walls. We also did an extensive vibration/rattle test before installing the fabric.

Inside a Film Connoisseur's No-Compromise Home Theater

An interactive 3D tour of the theater

People don’t generally consider seating essential theater equipment, but I know you spent a lot of time researching your chairs.

I had previously sat in various dedicated theater seating that I found uncomfortable so I wanted seating comfortable enough for the length of the movie. I happened across these chairs made by a Norwegian company called Ekornes that lift your head slightly as you recline, which seemed perfect for movie theater seating, and there were many models to choose from. I went to the local dealer, told them I was building a theater room, and asked if I could come by from time to time and sit in a chair and read a book for a couple of hours, and that’s what I did until I found the right ones. You can sit in these chairs for hours and hours.

 

Do you have any upgrades planned?

My system is 7.1 right now, but I will be able to use my new Altitude 16 processor to add ceiling speakers to do a 7.1.4 Dolby Atmos system. Once we do that upgrade, the room correction processing will move from the MC to the Altitude, and the MC will be retired.

 

With a room like mine, some upgrades are easier than others. Changing the projector is comparatively easy, and we were smart enough to run conduit for any cabling changes. But the speakers behind the fabric are not easy to change. Adding new Atmos speakers will likely mean redoing the entire ceiling. Fortunately, I do have extra fabric. Also, the ceiling is acoustically treated, so I’ll work with Keith to identify where those speakers will go and if anything else will need to be changed acoustically; and of course Keith will update the calibration.

 

Do you plan to upgrade to 8K as well?

On my screen, a 4K pixel is less than 1/32nd of an inch. Obviously, those pixels would be bigger on a larger screen, but I would also want to be sitting farther away from a larger screen. So, do I need my pixels to be smaller than 1/32nd of an inch when viewed from 12 feet away? I don’t think so. It’s already hard enough to get a 4K image in sharp focus—just imagine what an 8K lens will cost!

 

The exception might be something like IMAX. But, in my opinion, IMAX-size screens are only appropriate for content that is shot for an IMAX-style presentation. When you take content shot for cinematic presentation and blow it up to IMAX size, it’s 

too big for my comfort. It doesn’t become more immersive for me, it just becomes too big. If I were watching IMAX nature features at home on a screen double the size of mine, but from the same seating distance, then sure, 8K would be dandy.

 

Has spending time sheltering at home caused you to rethink the space? Are you finding you are using it more for non-movie viewing like TV, concerts, or gaming?

I have definitely been using the space more! I usually watch a movie a week with friends, but since that is not 

Inside a Film Connoisseur's No-Compromise Home Theater

feasible at the moment, it’s freed me up to watch a movie any time I feel like it, without the pressure to save the good ones for when people come over. So I’m really enjoying that!

 

There have also been some very enjoyable series streaming recently—Watchmen, Westworld, The Mandalorian—though you see the shortcomings of streaming video pretty readily on a big screen, which can be distracting. But The Mandalorian was 2.35:1 aspect, which made it feel more cinematic.

 

I love music and concerts, and I have a bunch of concerts on the Kaleidescape system I watch when I’m in the mood. There are a few I go back to again and again because they look and sound so darned good! Cream: Live at the Royal Albert Hall is one of the best mixed concerts I’ve ever heard.

 

Any closing thoughts?

I can’t emphasize enough the importance of hiring great people. Bob was the perfect contractor for this complex and detail-oriented project, and he brought in numerous craftsmen whose skills all contributed to its success, especially Steve Kent, the cabinetmaker and finish carpenter. Keith and his team did a fantastic job with the acoustical and technical requirements of the theater and making it all work within the existing framework of the house. Every time I go into my theater, I’m grateful to everyone who built it.

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.

Inside the Ultimate Home Entertainment Space

photos by Randall Michelson

Legendary designer Theo Kalomirakis and acoustician Steve Haas have collaborated on a number of cost-no-object home theaters, but probably none of those efforts has been as ambitious, versatile, or well-realized as the Paradiso. Seventeen years in the making, this Southern California gem is actually an entire home-entertainment complex built around an Italianate piazza. The reference-quality 15-seat home theater doubles as a fully-fledged concert hall. The nightclub features a hydraulic stage and can handle anything from a rock band to a jazz group. Next door to the club resides an arcade, containing the homeowner’s extensive collection of pinball machines and video games. There’s even a g-force flight simulator.

 

At a time when people are developing a new appreciation for what home entertainment has to offer, the Paradiso provides the ultimate example of what can be done when you venture outside the home theater box. I recently talked to Steve and Theo about the project’s genesis, execution, and legacy.

—Michael Gaughn

THEO KALOMIRAKIS: The client had been dreaming about doing a theater with me and asked me to do the basement of his house, which is next to where the Paradiso is now. It had a seven-and-a-half-foot ceiling, so it was only a modest room. I did it because I liked the guy very much. He was passionate about doing something, but there was not much I could do with the space. So he sensed I was kind of compromising.

 

One day, he called me and said, “Theo, I have good news and bad news for you.” I said, “What is the bad news?” He said, “I have to pull the plug on the theater downstairs because I cannot see myself working with you in such a compromised space.” 

“So, what’s the good news?” “I bought two lots next to my house, and I want to set you free to design whatever the hell you want. Let your mind soar. I trust you.” It was the best thing I was ever offered to do.

 

Since the house is located in an Italianate enclave, he said, “We need to do something that would be very much in keeping with 

the neighborhood.” Which is fine, but I realized the size I had in mind for the theater exceeded the one-story height that would be allowed there. That started our endless process of digging down to create a subterranean environment.

 

Originally, there were going to be two more floors below the piazza level, and he kept pushing. “Let’s dig some more. Let’s put the bowling alley there. Let’s have a restaurant for 30 people.” I said to him, “If we dig anymore, we’re going to reach China before we do the theater. So let’s put a stop on it.”

 

And then 2008 came. When the bubble burst, he called me and said, “There is no budget to excavate, so we have to scrap the basement. Can we limit the scope to make it into just the piazza level?” And of course, we redesigned the whole thing.

Inside the Ultimate Luxury Home Entertainment Space

click on the image to enlarge

The idea of adding multiple environments is an extension of what I have described in my book, Great Escapes, as my need to break away from the constraints of a very limited room where you only watch TV. I was dreaming of spaces where before you go into the theater, you have to go under marquees and through lobbies and other areas. And now, here I had the room to do it.

 

We ended up creating a city environment based on his desire to bring in Italian architectural influences. He sent me to Italy and I spent 10 days in Siena. I took about 2,000 photographs in nearby villages for reference. I came back and showed him some incredible charcuterie stores that sold cheeses, and pizzerias, and this and that, and he said, “Let’s do it.” The only things that were dictated by him were the arcade, because he had a very nice collection of pinball machines and video games, and the nightclub because he wanted to have gigs for jazz.

 

He basically gave me permission to go crazy. He didn’t ask me to do this village or do this or do that. I presented the ideas that he gradually grasped and accepted. It’s usually a collaborative effort. The client lets his imagination go to think about the things that mean something to him, and I put them into context.

 

Steve, you were obviously heavily involved in the theater space, but I would imagine you worked on the nightclub as well.

STEVE HAAS: We were involved in all the spaces, really, because acoustics and audio mattered in the pizzeria, the arcade, and even the lobby. For all of these, we provided general noise control, sound containment, and acoustic treatment, as well as audio system design and calibration. But the premier spaces were the cinema, the nightclub, and the pizzeria. This wonderful client was just so open in sharing his goals and desires. In addition to his love for arcade games, he also loved live music. His daughters were both learning to play string instruments, so he wanted the ability to have everything from a more formal concert environment to a loose hangout-type of club where you can have rock bands or jazz groups come and play. He can have a chamber trio performing in the theater and a rock band in the club with no sound bleed between them.

 

Somebody coming into the theater cold would think it’s just for watching movies, but it’s actually a fully-fledged performance space as well.

TK: I want to remind you, Mike, that the theaters that have inspired me over the years were never just for watching movies. The movie palaces were mixed-use spaces where you could have an orchestra and also acrobats or a comedy act or whatever, which is exactly what the Paradiso can do. So it’s not like we suddenly came up with the novel idea of using a

theater this way. This project brought us back, completed the circle to what the movie theaters were supposed to be.

 

Does the desire to be able to do live performances in a home theater come up very often with clients?

TK: Yes, but usually at a much more elementary level.

 

SH: It doesn’t happen nearly as often as it should. And, yes, that’s a biased perspective, but I think a lot of people just don’t realize what can be done. 

Inside the Ultimate Home Entertainment Space

And even if you don’t go to the nth degree like we did with the Paradiso, there are many ways to upgrade a theater space, and it starts with the layout. You have to have the space to be able to have one to four people be able to play and perform, and have a system that can support it—not just audio, but lighting, because that’s different from what you need for a home theater system.

 

TK: Because live performances require specific lighting, we brought in a very well-known lighting designer with a background in theater. This is probably the only project I’ve done in the US that incorporated so many different disciplines. It’s not just the clients who don’t realize all the possibilities. Even the designers cannot wrap their heads around how many wonderful things you can do in a space like that.

 

Steve, the theater had to have a traditional surround sound system for watching movies, but you also have your Concertino system in there for live performances. Are they two discrete systems or is there some overlap?

SH: I think we did share a couple of components. Maybe some of the subwoofers were relay switched back and forth, but inherently quite independent.

 

There was a lot of control programming. If you could see all the bells and whistles switching behind the scenes, it would be amazing. Almost a dozen processes switched in a sequenced manner to go just from theater mode to live concert and back, 

but the user interface was as simple as pressing a button for the initial selection and then there were custom presets within each mode.

 

What did the Concertino system bring to this project in particular, given what the client wanted to do?

SH: The Concertino, which is in the nightclub and pizzeria as well, expanded the ability to have various kinds of live music in an acoustically dry room. As Theo knows, we don’t design “dead” home theaters. However, even a mildly dry diffused home theater appropriate for cinema presentation doesn’t provide the right acoustic for many types of live music.

 

This acoustic-enhancement technology allows the performance space to become a true-sounding

concert hall, cathedral, or any other space you can imagine. So if they want to have a choir, string orchestra, or even a jazz group with a bit livelier sound, you can do that and then blend it with more traditional amplified sound as needed.

 

I’ve heard that people have been in that space and didn’t even know there was processing going on because it sounded so authentic, or is that an exaggeration?

SH: That’s exactly right. This is a world of difference from the Concert Hall and Cathedral modes you get in your car stereo or home receivers. This is recreating in the digital virtual electronic world exactly what a real hall of a different size, different shape, a different acoustic will do to enhance sound—the early reflections, reverberations in the proper timing and frequency manner. The technology can be described for days, but in the end it’s all about what happens when somebody presses a button and sits down and that string quartet, that cellist comes out, and just like, “Wow.” It’s just a great experience for performers and audience alike.

 

Theo, you weren’t here when Mike and I discussed how things are changing with music performances over livestream during the pandemic, but having spaces like this, whether it’s to this degree or even one or two degrees lower—I think a lot of affluent homowners are going to say, “You know what, I don’t want to be in a theater with 1,000 or 2,000 other people for quite some time. So why not create great-sounding spaces that will allow me to bring that type of experience home, literally, for not just movies, but for live music and other types of live entertainment?”

 

TK: I am hearing from people, “I don’t want to go to the movie theaters and catch a disease. I want to make my house be more like a theater.” This is an incredible new opportunity. And it’s up to us to capture it and relay the message that you can have this kind of theater space in your home.

 

SH: Am I hearing Theo saying he’s getting back into custom theaters again?

 

TK: I do want to do custom theaters but very, very selectively. If there is something of the caliber of the Paradiso, I will do it.

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

Steve Haas is the Principal Consultant of SH Acoustics, with offices in the NYC & LA
areas. He has been a leading acoustic and audio design & calibration expert for more
than 25 years in high-end spaces ranging from home theaters, studios, and live music
rooms to major museums and performance venues.

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 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.