Home Theater

How Much Would You Pay for Day & Date? Pt. 2

In Part 1 of this post, I referenced comments from users of the Kaleidescape Owners Forum who answered my question, “How much would you be willing to pay for Day and Date?” I expected these luxury system owners to have no problem with paying a substantial amount for the ability to see a movie at home the day it opens in theaters. But even among this group, not a single person was willing to pay even the minimum amount—$500—Prima Cinema charged and Red Carpet Home Cinema expects to charge for day & date viewing.

 

Casting the net to a wider audience, I ran a poll on the Sound & Vision website, which caters to enthusiasts of all income levels, where I again asked what they would be willing to pay for day & date. After nearly 350 responses, it’s clear that the

How Much Would You Pay for Day & Date, Pt. 2

Table 1

How Much Would You Pay for Day & Date?, Pt. 2

Table 2

How Much Would You Pay for Day &was Date, Pt. 2

Table 3

How Much Would You Pay for Day & Date?, Pt. 2

Table 4

click on the tables to enlarge them

vast majority of people aren’t willing to pay a very high premium at all.

 

In fact, the enthusiast responses from Sound & Vision far more support the likely pricing for movies available at home a week or two after they premiere in theaters than the $500 low end of the current day & date pricing schemes (see Table 1).

 

As you can see, out of 348 answers, only 43 people (roughly 12.6%) were willing to pay $100 or more. But when you go down to the $50 to $99 range, the group jumps to over 32%. This is a pretty large crowd, and a price that might be realistic three to four weeks after a movie hits the cinema. When you get to $25 to $49, more than half the responders would bite.

 

Is this an unrealistic price? Perhaps. But consider this: The current state of the art for home video viewing is 4K Ultra HD Blu-ray discs, most of which sell for around $20 to $35. Since this is what you now pay to own a movie and watch it as many times as you’d like, would it be so unreasonable that the movie studios would let you watch it once for $49 at some point later in the movie’s theatrical window? Maybe not . . .

 

A common theme among the Kaleidescape owners was that they want this premium rental to also come with the right to own/download the movie when it goes into mass release on home video. When asked if they’d be willing to pay more for this right, the responders were almost split in thirds (see Table 2).

 

Almost 39% said they would actually pay more. So, maybe at $125 to $150, you would get to watch the movie once while it’s still in the theater and would then be able to download it as soon as it’s in wide release. That seems like a pretty palatable choice that also wouldn’t erode the studios’ profits from traditional home releases.

 

Finally, I asked how often they would actually rent a movie if it were priced at just $50 (see Table 3). I was surprised to find that most enthusiast owners wouldn’t do it very often.

 

Slightly more than 5% would do it once a week, with about half saying they would rent a $50 movie once or more per month. Shockingly, more than 45% said they’d only do it a few times per year. And remember, these are audio/video enthusiasts responding to a hypothetical day & date price of just $50.

 

As for the necessary hardware, with Prima at $35,000, Red Carpet at $15,00, and Kaleidescape starting at $4,500, the systems required to play these movies aren’t cheap, which was another huge barrier for entry for many.

 

When asked how much they would pay for the hardware needed for day & date playback (see Table 4), more than 50% said they would only pay less than $500. Again, that seems highly unrealistic, especially when you consider the security measures that need to be employed, but it does bode well for Xcinex, which says its Venue will come to market for less than $30.

Also, these prices address the per-viewing model, which means it’s the same cost whether there are 1 or 50 people watching. The other option is the same per-viewer or per-ticket model theaters use, which is how Xcinex plans to operate. Other than the potential issues and privacy concerns with a sensor monitoring and counting viewers, it again seems difficult to believe Xcinex could come to market and offer day & date viewing at literally fractions of what the other companies are charging. But the company says it’s firmly committed to launching by the end of this year, and that it will have content and deals in place, so time will tell.

 

What impact will day & date have on your movie watching habits? And how much would you be willing to pay for the privilege?

John Sciacca

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

@SciaccaTweets and at johnsciacca.com.

How Much Would You Pay for Day & Date? Pt. 1

How Much Would You Pay for Day & Date?, Pt. 1

Wrapping up my recent series of posts on day & date, I thought I’d cut right to the heart of it: How much is day & date worth? In other words, how much would you pay for the privilege of watching a first-run film in the comfort of your own home, either on opening night or some short time later?

 

As I wrote in “Why Kaleidescape Could Own Day & Date, Pt. 2,” at the moment it appears Red Carpet Home Cinema has set the benchmark for what it will cost, at somewhere between $500 and $3,000. This is up from Prima Cinema’s $500 for each 

viewing. It could be that the Prima folks were better negotiators than Red Carpet, or that Hollywood has decided day & date is worth more now that it was a few years ago. We won’t know for sure until we see if Prima is able to return to operation.

 

But the simple truth is that, as much as we might want to be able to watch movies at home instead of going to the theater, most of us can’t afford these prices.

 

This is where I see a sliding scale coming into play. If you want to watch the movie on opening night, you’re gonna have to pay the ultra-premium price Red Carpet is demanding. But, if you’re willing to wait a week . . . or two
. . . or four, as theater audiences have slacked off to nearly nothing, the studios might allow for more affordable pricing.

 

This is why some kind of premium window for early theatrical release might be a more realistic hope for luxury home viewing than actual day & date. At least at first.

 

That conclusion was echoed by several commenters on the Kaleidescape Owners Forum when I posed the question:

 

“How much would you be willing to pay for Day and Date?” Here were some of the responses:

 

• I would like to see a sliding scale based on timing:

Week 1: $300

Week 2 to 4: $150

Week 5 to 8: $75

• I for one would also be willing to pay a premium for the privilege of watching movies at home
while they’re still out in the theater. That would be an awesome feature if it could be incorporated
into existing hardware.

 

• As for how much, it would depend upon the movie. [Star Wars]—maybe $300, other blockbusters,
maybe $150, comedies and “chick flicks” $75-100.

 

• I would pay maximum $75-$100 to watch with just my wife or kids, and maybe $200 once or twice
a year and invite friends over.

 

• With 4-8 $25 seats and a $100 fee for download etc then $200-300 on day one, week one is a
good no loss to the studio price point.

 

• I’ve said it before, I will say it again–I would pay $500 to watch any theatrical movie in my home
on opening day, even without the ability to stop/pause/rewind or be given a digital copy. Watching
Star Wars opening night on my couch is cooler than a sports car IMO.

 

• $500 for one viewing at midnight the release date. Watching [Star Wars] in my living room would
be incredible.

 

Remember, these answers all came from people who already own luxury entertainment systems, and have shown their willingness to invest in premium-price hardware like a Kaleidescape. (An entry-level Strato system—the unit most likely to support day & date—currently costs $4,500.) And none of them said they’d be willing to pay more than $500. That is why

I wonder if Red Carpet’s exorbitant pricing will be able to find traction even among the ultra-wealthy.

 

I first started thinking about what I’d be willing to pay for this experience six years ago, when I had the chance to live with the Prima Cinema system.

 

When I see a movie, it’s almost always with my wife and frequently with my 12-year-old as well. So, figure we’re in for around $30 in movie tickets. (I realize this is at the low end of the market, with many parts of the country paying upwards of twice that.) Then factor in popcorn, drinks, and snacks for another $20 to $30. Since we have a 3-year-old, figure another $20 to $30 for a babysitter. I don’t have to deal with parking (or hiring a car service), but for many this is another cost of movie-going. So, for me, a $100 movie purchase is something I would consider for many films.

 

And after my recent lackluster experience seeing Avengers: Endgame at my local cinema—where I didn’t eat or drink anything for 8 hours prior to showtime to ensure I could make it through without a bathroom break—with all of

the popcorn rustling, drink slurping, side conversations, an infant watching YouTube videos on an iPad (not kidding), and a very noticeably blown subwoofer that totally took me out of every bass-heavy moment, being able to watch at my own home almost sounds worth any price.

 

In Pt. 2, I’ll give you the surprising results of an extensive survey I conducted to find out how much home theater enthusiasts would be willing to pay for day & date.

John Sciacca

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

@SciaccaTweets and at johnsciacca.com.

What Makes a Good Control System?

What Makes a Good Control System?

A good control system is the backbone of any high-end home entertainment system, whether that system resides in a dedicated home theater space or in a multipurpose media room. No matter how great the picture quality, how immersive the audio, how effective the lighting control, the experience falls apart if the control system falls short. If people don’t enjoy operating the system, they won’t enjoy using the system.

 

But what makes a good control system? I pondered this question recently as I reviewed a pair of universal remote controls sold directly through retail channels. Both remotes shared a common goal: Simplicity. There was simplicity in the design of the remotes themselves. Both had a minimalist layout, stripping out a lot of the buttons found on your typical universal remote to produce a clean, unintimidating look. And there was simplicity in the setup process, making it as easy and clear as possible for the average consumer to program the remote to switch between activities and control a variety of components.

 

Simplicity seems like a good goal, but in the world of system control, it’s definitely possible to make something too simple. While I found both remotes easy to set up and pleasant to use, neither could perform all of the advanced functions or accommodate all the use cases I needed. They were great for controlling my basic living-room system, which consists of a 

TV, streaming media player, gaming console, and soundbar. But when asked to handle my more advanced home theater setup, built around an AV receiver and usually including some lighting control, they were just too simplistic to get the whole job done.

 

The trick in system control is finding the sweet spot between simplicity and functionality. You need a system robust enough to handle anything and everything you might want to do, but also simple enough that anyone and everyone in the house can use it. And that sweet spot is different for each person, which is exactly why universal remotes have an inherent disadvantage compared with control platforms like Control4 or Crestron. A universal remote locks you in to someone else’s idea of what’s

What Makes a Good Control System?

Logitech Harmony Elite universal remote, with hub and app

intuitive, both in the setup process (which has to be simple and scaled down enough that anyone can do it) and in the remote design. Sure, you can reassign buttons here and there, maybe choose some specific functions to show on the small touchscreen at the top of some remotes, but for the most part you have to work within a one-size-fits-all grid.

 

The Harmony remote brand revolutionized the direct-to-consumer universal remote by making it so much easier for the average person to program complex macros and present them as simple activities anyone would understand. But how many times have you programmed a Harmony remote to work exactly the way you want it to, sat back all pleased with yourself, and then watched a family member pick up the remote and stare at it blankly, uncertain what to do next? It has happened to me a lot.

 

And that’s just AV control. If you want to add elements like complex lighting scenes, shade adjustment, and temperature control, a universal remote simply isn’t built to handle that load.

What Makes a Good Control System?

In the world of luxury home cinema, you don’t need universal control. You need personalized control. That’s really what you’re paying for when you choose to step up to Crestron or Savant or Control4. You’re getting a team that’s been trained to perform all that complex, behind-the-scenes programming so you don’t have to, and you’re getting a system that’s flexible enough to accommodate your idea of what’s intuitive.

 

You can get the handheld remote with a preset button layout, but you can also get the touchscreen controller, 

with fully customizable screens in which the page layouts and button names make sense to you. You can add customized in-wall keypads to quick-launch lighting/room scenes right when you walk in the door. It’s all about putting the right control options in the right place for you and your household—and you should absolutely include the whole family in the discussions with your custom installer.

 

Of course, just like in the world of DIY control, an advanced control system is only as good as the people who set it up, so don’t treat this step like an afterthought. Do some research on your local installers and what control systems they’re trained to program. Check references. Ask questions. Be involved. After all, what’s the point in paying more for personalized control if you don’t take the time to truly personalize it?

  —Adrienne Maxwell

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

Why Kaleidescape Could Own Day & Date, Pt. 2

How Kaleidescape Could Own Day & Date, Pt. 2

In Part 1, I gave some of the technical reasons why I think Kaleidescape is better positioned than companies like Prima Cinema and Red Carpet Home Cinema to make day & date—the ability to watch movies at home the day they debut in movie theaters—a success. Here, I’ll focus more on the logistical and strategic reasons for why I think it has the potential to be the most viable day & date provider.

 

6) CONTROLLED ROLLOUT

Sure, there are bigger companies than Kaleidescape out there—like, say, Apple or Vudu—that have a lot of studio agreements in place and are set up to handle secure transactions, but day & date isn’t going to be rolled out wide to a mass-market audience.

 

The movie studios want to release this in a very controlled manner so if there’s a problem, they can shove the genie back into the bottle as easily as possible. That just wouldn’t be possible with a $149 mass-market device like an Apple TV.

 

Even if Kaleidescape made day & date available to every one of its customers worldwide on Day One, we’re still talking thousands of systems, or a very small percentage of the movie-watching population. But day & date will probably begin in the US, which would cut the number down considerably. And, it probably wouldn’t be rolled out as a firmware update for all 

Kaleidescape users, but would likely be offered to a very select beta of 50 to 100 power users, whose systems would be updated with new firmware and then monitored during the beta period.

 

Another possibility would be for Kaleidescape to approach existing Bel Air Circuit members to become system owners (or be loaned beta-enabled systems). What group to better give day & date access to than one that already has it?

 

And, while the company won’t publicly comment on system owners, it’s pretty well known that Kaleidescape systems are already owned by many Hollywood A-listers. This 

would be another avenue for a controlled rollout, targeting a select group of influencers who could experience the system in action and become more comfortable with supporting day & date releases.

 

7) ALREADY OWNED BY MANY CINEPHILES

You know who’s going to be the most interested in buying day & date content for viewing at home at premium pricing? Luxury cinema owners who love movies. And you know what system many luxury cinema owners and movie lovers already own? Yup. Kaleidescape.

Why Kaleidescape Could Own Day & Date, Pt. 2

And for those who currently aren’t system owners but who love the idea of enjoying first-run content at home, the price of entry is far more obtainable with Kaleidescape than with Prima or Red Carpet. For under $4,500, someone could buy a Strato S 4K Ultra HD movie player (shown above) with 6 Terabytes of storage, enough to hold about 90 4K Ultra HD movies. This would be affordable for far more people than the .1% targeted by Prima and Red Carpet, and not an unreasonable amount to spend in a luxury media room costing $25,000 or more.

 

8) INTEGRATION PARTNER CHANNEL

End users aren’t going to be able to just stroll into a Best Buy, pick up a day & date system, take it home, and install and activate it themselves. Something this sophisticated and bulletproof requires professional integration and handholding.

 

While I’ve no doubt Red Carpet will be able to find a dealer base—though Prima might have a harder row to hoe should they return to operation—Kaleidescape already has an established and reputable dealer network.

 

Since its inception, Kaleidescape has worked hand-in-hand with the custom installation channel, having some of the best CEDIA and HTA-certified members in its ranks, ensuring that its hardware is properly installed and configured. Realizing that its systems are only as good and stable as their installation, Kaleidescape only sells through a network of custom installers that can handle complete installation and system integration. This also ensures that the system works with the customer’s control system and is calibrated with their video and audio system, and that the network is configured for a stable experience.

 

9) PROVEN LUXURY TECHNOLOGY

When Kaleidescape hit the market in the early 2000s, the first system sold for more than $30,000, which obviously meant only a small subset of home theater owners could afford it. Almost 20 years later, the luxury market remains Kaleidescape’s core demographic.

Kaleidescape systems also have a phenomenal reputation for bulletproof operation. Every system includes dealer tools like remote system health monitoring and automatic notifications should a system have an issue such as loss of network connectivity, overheating, or hard disc trouble. This allows dealers to address problems proactively before there’s a loss of operation.

 

Unlike other companies, which are outsourcing their hardware or software, Kaleidescape has end-to-end control over every aspect of its system. It runs its own Movie Store and handles all movie encodes (see “How Kaleidescape Makes Movies Look Amazing”), and has 

dedicated engineering and tech support teams. In short, if there’s ever a problem with any aspect of a Kaleidescape system, there’s one clear route to getting it resolved.   

 

10) COULD CO-EXIST WITH OTHER PREMIUM OFFERINGS

In my conversation with Red Carpet’s Fred Rosen, he said they asked the studios, “What will it take to make this happen? You set the price and terms.” So presumably the studios feel day & date content is worth somewhere in the $500 to $3,000 range.

 

Frankly, these prices seem untenable for most Kaleidescape customers, and I question how many among even the ultra-wealthy are willing to buy a movie for viewing at such a massive premium. Or how often they would choose to do so beyond a once- or twice-a-year novelty. (Honestly, for $3,000, you could just call up a theater, buy every seat, and have your own private screening.)

 

But, for the sake of argument, let’s assume Red Carpet—and even Prima, upon return—establishes this as the price for day & date viewing. Kaleidescape could then decide to establish itself as a premium video-on-demand solution for early theatrical release, offering movies just after that first week or two when most films bring in about 90% of their box-office take.

Let Red Carpet and Prima charge $500 to $3,000 for the privilege of being able to see a movie at home on opening day. Kaleidescape could then make it available after the first week for, say, $300, then maybe $200 after the second week, dropping to $100 after the first month. At these tiered prices, Kaleidescape owners could regularly consume premium theatrical content without having a significant impact of the theater owners’ bottom line.

 

Think of this as being akin to air travel. You have the money-no-object group of private jet owners who think nothing of dropping millions on the plane itself and then thousands in operational costs for each flight. That is the Bel Air Circuit crowd. Then you have those who prefer fractional jet ownership via companies like NetJets. While by no means inexpensive, this has far lower buy-in and pay-by-hour operation costs. This would be the Red Carpet and Prima customer. Then there are people who still want a luxury travel experience but don’t care to shell out the ultra-premium costs for private travel, opting to fly First Class instead. This would be the Kaleidescape customer.

 

 

When I asked Kaleidescape about possible day & date plans, the company’s official response was, “We won’t comment on any speculation or rumors.” But it doesn’t take a lot of imagination to connect the dots and realize that the company would be keenly interested in pursuing this potentially game-changing feature. In fact, one need only read the comments CEO Cheena Srinivasan gave in an interview a couple of years ago. When asked about Kaleidescape’s possible involvement with day & date, he said:

 

I believe in the concept of offering new-release movies still playing in the neighborhood theaters to luxury home cinema customers. It will become a reality.

 

According to a recent survey by MGM Resorts, watching movies in a movie theater was cited as the most popular way to be entertained, followed closely by watching movies at home. People who own a luxury home cinema have little need to go to a theater. They would rather wait until the movie is released for home viewing.

 

Since theater owners lose no revenue from people in this category, a premium-priced rental for this audience during the theatrical window won’t cannibalize the exhibitors’ revenues. For the content owners, monetizing content from this audience makes good business sense. We’re well positioned to offer such a service—it is not a technological barrier, as Kaleidescape is already regarded as a respected supplier of both products and content designed with the highest content-protection safeguards available in the market today.

 

Again, all of my comments here are just speculation and conjecture, but movies are being made available at home sooner and sooner after they’re in theaters, and premium day & date services already exist. So the big question isn’t whether day & date is going to happen, but who’s in the best position to offer it securely and reliably over the long run.

John Sciacca

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

@SciaccaTweets and at johnsciacca.com.

Why Kaleidescape Could Own Day & Date, Pt. 1

Why Kaleidescape Could Own Day & Date, Pt. 1

After my last two posts—”Day & Date Finally Get Real, Pt. 1” and “Pt. 2“—where I explored the current and proposed options for viewing movies at home on the day and date they’re released in theaters, I thought I’d offer a bit of speculation on why I think the best approach to this might already exist with Kaleidescape.

 

When you consider the various boxes that need to be checked to make day & date a success—something I’ll do here by comparing Kaleidescape with the existing options—it can be argued that they already have enough of the pieces in place to be the strongest contender.

As a Kaleidescape owner, reviewer, and dealer, I feel I’m in a pretty strong position to make this claim. I’ve been following the company virtually since its inception, with my first review published in Sound & Vision magazine back in 2003. Since that time, I’ve lived with or reviewed virtually every product the company has produced, been involved in beta testing, and currently own a Strato 4K HDR player along with a Premiere system with players in two locations and with two disc storage vaults managing my collection of approximately 500 movies. 

 

So here are ten reasons why I feel Kaleidescape could own the day & date market.

 

1)  STUDIO AGREEMENTS

One of Prima Cinema’s biggest initial drawbacks was the lack of studio agreements—something that could hinder Red Carpet Home Cinema as well. The number of studios on board determines the movies you can watch. In short, no studios, no movies.

 

Prima launched with only three major studios. Red Carpet is coming to market with four majors and one minor, Annapurna Pictures. (The company lists 20th Century Fox as a licensee, but it currently offers no films from them. When I asked CEO Fred Rosen if the recent Disney acquisition of Fox would affect this relationship, he coyly responded, “Only the Shadow knows . . .”) This means there is often a real shortage of content to watch. For example, you won’t be watching the blockbuster Avengers: Endgame in any Prima or Red Carpet cinema.

 

Kaleidescape, on the other hand, has agreements with 38 studios. This includes all of the majors except MGM, as well as a host of minor, independent, and foreign companies. And, yes, it includes Disney and all its properties: Pixar, Marvel, Lucasfilm, and Disney Animation.

 

These existing relationships put Kaleidescape in a strong position to negotiate for day & date terms, and to have an unmatched amount of content on hand for viewing.

2)  ROBUST COPY PROTECTION

Hollywood is (rightfully) very paranoid about protecting its content. I mean, if you invested $100-million-plus in something with a potential $1 billion return, you probably would be too. So any technology that will let you watch this precious content in the privacy of your home is going to require some pretty hefty safeguards to prevent piracy.

 

When it comes to security protocols, I don’t believe any consumer electronics device in history is more locked down than Prima. Since I described those protocols in detail in “Day & Date Finally Gets Real, Pt. 1,” I won’t recount them again here. 

But Prima does do everything imaginable to ensure that no piracy takes place on its watch. 

 

They also require every installed location to have a static IP address that’s registered and white-listed with them. (Red Carpet has the same requirement.) This ensures that the system is only being used at your home. While Kaleidescape doesn’t currently require this level of security, its system doesn’t have any hardware and technology limitations that would prevent it from being implemented if the studios required it.

 

Prima and Red Carpet also employ digital watermarking, which means every presentation is uniquely tagged and can be identified back to a specific viewing session if it’s illegally recorded and released. Kaleidescape is also ready to do this, having signed a deal with Nagra to implement its NexGuard technology, called “the world’s leading forensic watermarking technology.”

 

Of course, 100% piracy prevention is impossible, as shown by the fact that Avengers: Endgame was released to Chinese Torrent sites within hours of the film’s premiere in China. But Kaleidescape has been fanatical about protecting content, securely storing movies on its servers 

for years without a single report of the system being hacked or exploited, so its proprietary hardware and software should pass Hollywood muster.

 

3)  NOT A ONE-TRICK PONY

Perhaps the biggest differentiator between Kaleidescape and systems like Prima and Red Carpet is that the latter exist solely to provide day & date content while, with Kaleidescape, day & date would just be icing on an already fully-featured and delicious cake.

 

When Prima went dark back in 2016, system owners were left with a $35,000 paperweight. Movies stopped downloading, and the system effectively ceased to function. (The company expects to make an announcement in July following a round of funding in June, so hopefully this will bring existing systems back to operational status.) Should Red Carpet fail, or the studios decide to cease support, one would assume that its $15,000 hardware would also become just another expensive conversation piece.

 

But Kaleidescape has nearly 20 years of proven service. Even if studios decided that day & date was a horrible mistake (unlikely), Kaleidescape owners would still have a system that functions 100% the way it does today, and any movies already bought and downloaded would continue to play. And instead of being limited to a single (expensive) viewing of a film or a brief viewing window, Kaleidescape owners can accumulate a library of content they can watch at any time.

 

4) EXISTING INTERFACE FOR SECURE TRANSACTIONS

While Prima’s biometric fingerprint reader for authenticating purchases might seem extreme, it does prevent your 10-year-old from firing up the theater and ordering a bunch of movies at $500 a pop. But it also means nobody else in the family can use 

the system if the enrolled fingerprint member is away.

 

Red Carpet doesn’t need fingerprint authentication for purchases, but does require customers to have a credit card on file with a limit of “at least $50,000.”

 

Kaleidescape’s Movie Store already provides a secure way to handle 

Why Kaleidescape Could Own Day & Date, Pt. 1

transactions. Customers have been buying movies online and downloading them from the Store for years, so a system for shopping, billing, and delivery is already up and running, and works.

 

With its recently introduced iOS app, Kaleidescape customers can make purchases using an iPhone or iPad that can be authenticated by a fingerprint or Face ID. This system is fast, secure, and effective. Buying movies via the onscreen interface requires just a PIN code to complete the transaction.

 

If Hollywood required customers to have a registered fingerprint reader for added security, Kaleidescape could probably easily add this feature. Every Strato player has a currently unused USB connection. With a firmware update and a sub-$100 USB fingerprint scanner, this feature—like whitelisting an IP address—should be something that could be added.

 

5)  SUPPORTS HIGHEST-QUALITY AUDIO & VIDEO

While Prima’s video was considered stellar at the time the system was introduced, delivering better-than-Blu-ray quality 10-bit 4:2:2 images, it was limited to 1080p resolution, which trails behind the premium experience available on today’s 4K Blu-ray discs. The company had plans to release updated hardware (reportedly selling for $50,000, or a $15,000 upgrade to existing owners) that would support 4K HDR video and lossless audio formats like Dolby Atmos and DTS:X, but that has yet to come to fruition.

 

Red Carpet will presumably be delivering films in 4K HDR with lossless audio via Vubiquity, a premium content distributor that supports this level of delivery.

 

Meanwhile, the Kaleidescape Movie Store features hundreds of titles in 4K HDR resolution, many with lossless Dolby Atmos soundtracks. And unlike streaming content, which requires heavy compression to get through a narrow network pipe, Kaleidescape’s content is 100% downloaded to a local server, similar to how both Prima and Red Carpet operate. This already exceeds the presentation found in most commercial cinemas, and also exceeds the very best experience offered by 4K Ultra HD Blu-rays—without the storage limitations of a physical disc—and would likely be the quality provided for day & date releases.

 

 

In Part 2, I’ll talk about how, unlike services like Red Carpet and Prima, Kaleidescape already has a significant customer base with both the hardware and the financial means to support day & date in a big way right out of the gate.

John Sciacca

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

@SciaccaTweets and at johnsciacca.com.

Creating Rayva: Vin Bruno

Creating Rayva: Vin Bruno
Theo's Corner

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

—T.K.

 

 

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

 

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

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

 

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

 

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

 

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

Creating Rayva: Vin Bruno

ABOUT VIN BRUNO

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

 

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

 

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

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

 

TK  Yes, that’s true.

 

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

 

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

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

 

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

 

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

 

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

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

 

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

 

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

Creating Rayva: Vin Bruno

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

 

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

 

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

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

Day & Date Finally Gets Real, Pt. 2

In Part 1, I talked about companies that either currently offer or are about to offer the ability to watch movies at home the day they’re released in theaters. Here, I’m going to look towards “things that are coming,” and discuss a service on the horizon called Xcinex (pronounced See-nex).

 

I’ve already written a couple of posts about this company—you can read Part 1 and Part 2 here—but here’s a quick look at what they’re up to. Xcinex is a Silicon Valley startup that, unlike Red Carpet Home Cinema, is definitely looking to disrupt and change the whole movie delivery model. While Red Carpet requires a hefty $15,000 buy-in, Xcinex wants to sell you its Venue hardware for an almost unbelievable $29.95. (That’s not a typo.) And instead of paying thousands per movie, Xcinex expects its pricing to be similar to what you pay now when you go to a movie theater.

 

It’s been over a year since I wrote my original post on Xcinex, so I reached out to Founder and CEO Cihan Fuat Atkin, to see if they’re still on track for launch. According to Atkin, they expect to begin selling Venue by the end of 2019 at $29.95, and to have content available for purchase at that time.

Day & Date Finally Gets Real, Pt. 2

One of the biggest differences between Xcinex and the other options—short of hardware costing fractions less—is its per-viewer pricing model. For example, while you pay $500 to watch a movie with Prima Cinema whether you’re watching alone or with a houseful of guests, Xcinex will follow the movie theater model of charging per each set of eyeballs. This also enables studios to have a more accurate count of how many people are actually watching a film.

 

How does Xcinex do this? The Venue set-top box has a sensor that monitors the room while a movie is playing to see how many people are watching. It also keeps piracy at bay by looking for any devices that could be recording the film.

 

This obviously raises some privacy concerns, since most people aren’t keen on having a sensor keep tabs on them while they watch movies. Atkin said Xcinex has redesigned its hardware since my last conversation to address this. Venue is now 100%

Bluetooth, which means it no longer has a network connection and can no longer be remotely accessed or send any images. All image analyzation is now done locally, in real time, without being stored or submitted.

 

Xcinex is proposing a 95% revenue payback to studios, which can then distribute a share of the money back to the local theater, cutting them into the sale just as if someone had gone there and bought a ticket. Viewers can select a theater if they’re part of its loyalty program or Xcinex can send the revenue to the nearest cinema. 

 

Atkin said Xcinex is looking to “bring the 1% experience to the masses,” and that his company will be applying for app approval on all major services, including Apple, Roku, and Android; smart TVs; and game consoles like PlayStation and Xbox.

 

While he expects to have content available at launch, Atkin couldn’t name any studios that had signed on to support Xcinex. He did say he fully expects to have a mix of independents, foreign, and live content, and that while day-and-date availability will be up to individual studios, that is his company’s ultimate goal. “We wouldn’t have spent the past five years working on this if we didn’t expect it to be a reality,” Atkin said.

 

Over the past year, Xcinex has been busy streamlining the process for using its product, simplifying operation and the movie selection and purchase process, which will now all be completed via the onscreen app instead of requiring a separate phone or tablet.

 

Atkin did share some information that some might find more than just a bit invasive. Xcinex plans to be able to supply data to content providers on viewer behavior during films. To help studios know how content is performing, the sensor would be able to analyze audiences and share whether viewers laughed, cried, or got up during a scene. And while it wouldn’t be sharing specific information such as “John laughed, at 2 minutes 10 seconds in,” it could share information like “two out of four viewers laughed.” He said this feature won’t be active at launch, and users could opt out of sharing this data when it becomes available.

At its bargain-basement pricing, Xcinex could find itself successful even if it never gets a single studio to sign on for early-release windows. In fact, it might ultimately find more success in selling access to live events like concerts, sports, or plays. Imagine being able to buy a ticket to watch Hamilton or see Taylor Swift when the event is happening hundreds of miles away or sold out? Or being able to view indy or foreign films that don’t get a wide release?

 

Finally, you can’t have an article on day-and-date services without mentioning The Screening Room. This was the brainchild of Sean Parker of Napster and Facebook fame announced back in 2016 that created a wildfire of buzz in the industry for about two months.

 

Parker’s idea was that hardware would cost $150, and viewers would buy films for $50, giving them access to a 48-hour window. Of that $50, an equal share would go to both the studios and the local theater chain, cutting everyone in on the action.

 

Adding to the buzz, the service had vocal support of some pretty big Hollywood influencers like J.J. Abrams, Steven Spielberg, Martin Scorsese, Peter Jackson, and Ron Howard. But it had an equal if not greater number of people—including Cristopher Nolan, James Cameron, M. Night Shyamalan, and Kevin Tsujihara CEO of Warner Bros.—speaking out against it, not to mention theater chain owners

 

But just like a shooting star that shines bright and burns out quickly, as fast as The Screening Room came to attention, it seems to have completely disappeared into the ether. Since June 2016, there has been almost no news or information on the company. One small update from The Wrap in March 2017 said the company was working on developing new security protocols to address piracy concerns and that The Screening Room planned on attending CinemaCon. There has been nothing about the company since.

 

With companies like Netflix and Amazon pushing release windows and creating Oscar-worthy content directly for streaming, it seems that day-and-date releases are inevitable, and at this point it seems more a question of when and who rather than if.

 

—John Sciacca

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

@SciaccaTweets and at johnsciacca.com.

Day & Date Finally Gets Real, Pt. 1

Day & Date Finally Gets Real

Ever since the home video market was effectively born in 1977 with the launch of the VHS player and the release of The Sound of Music, M*A*S*H, and Patton, people have been eager to watch movies at home as soon after they appear in movie theaters as possible. While it used to take months or even years for a film to see a home release, the theatrical window has been increasingly shrinking.

Movies now typically play exclusively in the theater for a month or so before going to premium video-on-demand (PVOD) services such as pay-per-view or airlines, then to an online digital release such as Kaleidescape or Vudu, then a disc release about 14 weeks after the theatrical run, then to home video services like HBO a couple of months later, and then finally to non-pay TV services. For example, The Lego Movie 2: The Second Part was released theatrically on February 8 2019, and was released for digital download on April 16, with the disc release scheduled to arrive on May 7.

 

But these shrinking release windows still haven’t been enough to satisfy the desire to see movies soon after they’re released in theaters. The biggest thing keeping windows from getting even shorter is the delicate relationship between the movie studios and the theater owners. Studios make millions—sometimes billions—from the main commercial release, and they don’t want to do anything that might hurt the goose that lays their biggest golden egg. Regardless, a few companies have been working hard to have movies available at home the day they’re released.

 

Bel Air Circuit

At the top of the pyramid is the Bel Air Circuit—an invitation-only group of individuals consisting mainly of Hollywood A-list actors, directors, producers, and studio executives who receive just-released movies to enjoy in their personal screening rooms. While this used to require delivering film reels via courier and having a projectionist on site to handle 

the reel-changing chores, members now receive the same digital files sent to commercial theaters. The upside is that most studios make their films available for viewing to Circuit members at no charge. The downside is that unless your name is Spielberg, Tarantino, Stallone, or Cruise, you won’t ever be invited to join.

 

Bel Air Cinema

Very similar in concept to the Bel Air Circuit is Bel Air Cinema. The biggest difference is that unlike an invitation-only, private club comprised of a Hollywood who’s who, anyone with a big enough checkbook can inquire about becoming a customer.

Bel Air Cinema requires the kind of commercial cinema
projection equipment shown here

But your regular home theater need not apply. In fact, even high-end, luxury home theaters aren’t compatible, because Bel Air Cinema is less about home theater and more about creating a commercial theater in your home. That requires a Digital Cinema Initiatives (DCI)-compliant projector and movie server costing $100,000 or more. (Feel free to read the latest Digital Cinema System Specification, Version 1.3—it’s only 155 pages.) And expect to shell out $5,000 or more for the privilege of watching a film, plus annual fees.

Prima Cinema

The first company to make a real go of the day-and-date concept was Prima Cinema. Launched in 2012, with financial backing from companies including Universal Pictures, Best Buy, and IMAX, Prima lets you watch movies at home the day they hit the theaters.

 

Unlike the Bel Air systems, Prima’s hardware works with any home theater technology, providing an HDMI output that can be connected to any brand of AV receiver or processor and any TV or projector. The system includes a massive array of security features, including accelerometers to prevent moving the hardware, unique watermarking for every viewing, and a fingerprint scanner with “liveness” detector. 

Day & Date Finally Gets Real

CLICK THE CHART TO ENLARGE

Prima initially had agreements with just Universal, Lionsgate, Focus Features, Cinedigm, and Magnolia. But after a couple of years in operation, this list expanded to include Paramount, The Weinstein Company, Relativity EuropaCorp, Roadside Attractions, Gravitas Ventures, Samuel Goldwyn Films, IFC Films, and Open Road, meaning a far larger number of titles was available for viewing. 

 

But Prima isn’t cheap. The hardware alone costs $35,000, with movies running $500 per viewing. I have the unique experience of having been the only reviewer to live with Prima—not once, but twice—so I was able to experience the system 

firsthand. And I can confirm it has a wonderful interface for browsing and choosing movies, and delivers pictures in beautiful, better-than-Blu-ray 4:2:2, 10-bit quality.

 

Unfortunately, around 2016, Prima seemed to fall off the map. Movies stopped downloading, and dealers couldn’t get a hold of the company. Prior to this post, I reached out to a new contact listed on the company’s redesigned webpage: Richard Jenkins, Head of Content. According to Jenkins, “We are still operating and hoping to close our current

Day & Date Finally Get Real

investment round by the end of June; once new funding is in place we will then be making an announcement in early July, so please standby—we will update you as soon as we can.”

 

Red Carpet Home Cinema

Earlier this month, the New York Times ran a story heralding the launch of a brand new company in this space: Red Carpet Home Cinema—the brainchild of Fred Rosen, the man behind Ticketmaster, and Dan Fellman, past president of domestic distribution at Warner Bros. Red Carpet is more Prima Cinema (of which Rosen sat on the board of advisors) than Bel Air Cinema since it will work with any traditional AV system but requires a $15,000 piece of proprietary hardware (loaded with security provisions to keep Hollywood content safe from piracy). According to the site’s FAQ, “Movies will be variably priced with the most current films in the low thousands—no movie will be priced below $500.” The Times article mentioned that films will cost $1,500 to $3,000, which will include two viewings within a 36-hour period.

 

I recently spoke to Mr. Rosen, and found him incredibly forthcoming and straightforward about his new company’s plans. He repeatedly said Red Carpet isn’t looking to disrupt the current cinema model, but rather wants to provide a luxury option for

Day & Date Finally Gets Real

Red Carpet Home Cinema co-founder Fred Rosen

home viewing to people willing to pay for it.

 

Rosen said: “We asked the studios, ‘What will it take to make this happen? You set the price and terms.’ The studios said I was the first guy to come in and not try to tell them what they could charge, not tell them how it was going to be.”

 

Red Carpet lists studio support from 20th Century Fox, Paramount, Warner Bros., Lionsgate, and Annapurna, with five titles currently available for viewing: Pet Sematary, Missing

Link, Hellboy, The Curse of La Llorona, and Shazam! But Rosen says he feels pretty comfortable they’ll be able to add more studio partners.

 

“This is a luxury product, of something that is very limited and difficult to get,” he said, “and our customers are willing to pay for the convenience and privilege.” The company isn’t looking for mass sales, but would like to sign up a limited number of affluent clients, saying it would be happy to have hundreds of members in New York and LA, and about a hundred more in each of the largest cities throughout the US.

 

Rosen said there are luxury options available for virtually every other kind of product or service, and Red Carpet wants to provide athletes, movie stars, and just “regular” wealthy people with the freedom to consume content when and how they want. “If a kid can watch a movie on their phone 90 days after it is released for $.99, why can’t there be an early option for the luxury market that is willing to pay for it?”

 

According to Rosen, people last year spent $70 billion on private planes and $60 billion on private yachts. “I’m not saying that’s good or bad, it just is what it is. And if those people want to spend $3,000 to watch a movie in the privacy of their own home, why shouldn’t they have that as an option like any other luxury purchase?”

 

Red Carpet is currently in beta, with several systems installed in both New York and California. When I asked Rosen when the service would come out of beta, he said, “As soon as we make a sale! It’s ready to go now.” For those with the means, Red Carpet Home Cinema is available now throughout the country.

 

In Part 2, I’ll talk about the current status of the much-hyped day-and-date startup The Screening Room, and provide an update on Xcinex, which plans to sell its hardware for a mass-market-friendly $30 and charge for viewings based on the number of people in the room, like at a movie theater.

John Sciacca

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

@SciaccaTweets and at johnsciacca.com.

Creating Rayva: Dimitris Theodorou

Creating Rayva: Dimitris Theodorou
Theo's Corner

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

—T.K.

 

 

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

 

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

TK Yes.

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

Creating Rayva: Dimitris Theodorou

ABOUT DIMITRIS THEODOROU

Dimitris Theodorou was born in Athens, Greece in 1983.

 

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

 

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

 

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

 

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

 

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

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

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

MG  Do you have any orders yet for Light Edge?

 

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

 

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

 

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

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

 

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

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

 

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

 

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

 

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

 

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

 

MG  Whose design was that?

 

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

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

Why Movie Theaters Still Matter

Why Movie Theaters Still Matter

I couldn’t help but chuckle when I read Dennis Burger’s piece in which he laid out 10 reasons why home theaters are better than movie theaters because I recently had a movie-going experience that reinforced pretty much all of his arguments. Technically, it was three movie-going experiences all united under one common theme: A child’s love of How to Train Your Dragon.

 

You see, my 10-year-old daughter is completely obsessed with dragons, and that obsession was born the day she watched How to Train Your Dragon for the first time—in our home theater, mind you. For over two years, she has absorbed every detail of this universe—the two films, the comic books, and the DreamWorks Dragons TV series—the same way I absorbed all things Star Wars as a kid.

 

So, as you can imagine, the theatrical release of How to Train Your Dragon 3: The Hidden World back in February was a monumental life event that evolved into our own movie-going trilogy. The epic journey began with a Fandango Early Access showing three weeks before the film’s official release date. Only one theater within 30 miles of my home was hosting a 

screening, and I was lucky to acquire four seats together before it sold out. Then we had to make the 30-minute drive to see the movie in an older but at least renovated theater. No Dolby Vision or Atmos, but, hey, the seating had been upgraded, so it wasn’t too bad. You could tell, though, that the AV system had seen a lot of use.

 

The sequel came on opening night at our local theater. (Yes, we still had to go on opening night. After all, the child had waited a quarter of her life for this moment to arrive.) Did I mention that we only have one movie theater in our town of roughly 100,000 people? It was built just a few years ago (yet, still no Dolby Vision or Atmos), and it’s a very pleasant place to see a movie. The AV equipment is still in good shape, they keep the volume within reasonable limits, the 

seating is well spaced so that it’s pretty much impossible for someone to block your view, and the big leather recliners are very comfortable. It’s reserved seating, too—and since it’s the only theater in town, you’d better reserve those seats well in advance if you want get anything decent on opening night. Luckily I did, so all was well.

 

For the final installment of the trilogy, my daughter wanted to see the movie one more time—in 3D. Only one theater in our local movie house was showing the 3D version, and for some inexplicable reason they decided to show the PG13-rated Alita in that theater all day long and the PG-rated dragon movie once a day, only on certain days, at 9:00 p.m. Now, I told the child that was too late for a 10-year-old to go see a movie, but really it’s too late for a 10-year-old’s parent to stay awake through a movie.

 

Instead, we drove 45 minutes to the next closest 3D showing, in a much older theater: A small screen, the classically awful flip-down seats, and a projector that was so dim that roughly 50 percent of the details in dark scenes were completely lost behind the 3D glasses. It you haven’t seen the standard version of The Hidden World, it’s really quite gorgeous, with rich color and exceptional detail (I can’t wait to see it in UHD!), so much of which gets lost in the 3D version if the projector is not up to par.

 

And there you have it. Three different theaters. Three different levels of quality. Lots of pre-planning and scheduling. Lots of driving. Lots of illegal smuggling of reasonably priced snack items . . . 

 

Oh, and one very happy child. Put the snark aside for a minute, and you’re left with a 10-year-old who loved every . . . single
. . . minute. She loved the surprise of the Early Access screening, of getting to see the film before all her friends. She loved

Why Movie Theaters Still Matter

the commemorative Toothless drinking cup and the Toothless-shaped popcorn holder that will remain a cherished possession for years to come. She loved opening night just as much, sharing in the laughter and tears a second time with a packed house. And she thought the 3D was “super cool.” Our epic How to Train Your Dragon journey is an experience that will stay with her for the rest of her life, and I wouldn’t trade it for anything.

 

As we adults wax philosophical about the technological superiority of luxury home cinema and all of its conveniences, let’s not forget the joy and wonder that a child gets from 

going to the movies. The joy and wonder that we got from going to the movies. Some of my strongest childhood memories are built around the movie theater. I dare say it doesn’t matter where you’re from, how wealthy you are, or how big and amazing your home media system is, your kid is always going to think it’s cooler to go out to the movies.

 

Don’t get me wrong—I still agree with everything Dennis said. I know that 85 to 90 percent of the movies I watch will be at home, and I absolutely want to watch them through a great AV system, on my terms. But for those “event” movies—like the upcoming Avengers: Endgame, which has me almost as giddy as my daughter was over The Hidden World—I want to go out to the movie theater. I want to share in an experience, just like I do at a great concert. I want it to feel like an event.

 

That means I want the movie theaters to get their act together and catch up to where we are now in home cinema so that we movie lovers can enjoy the best of both worlds. I want more theater chains to adapt to this new movie-watching landscape and figure out creative ways to work with companies like Netflix and Amazon instead of against them. I want theaters to survive so that my grandkids will also get to experience the joy and wonder of going to the movies. I can’t wait to see what story captures their heart and imagination.

—Adrienne Maxwell

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