Tech

Specs vs. User Experience

Specs vs. User Experience

Earlier today, I had a sponsored post from Samsung pop up on my Instagram feed. It was for an 80-some-inch 8K QLED display that could be mine for the paltry sum of $15,000.

 

On one hand, $15,000 could be seen as somewhat of a revelation, for it wasn’t too long ago that TVs of this ilk commanded price tags double that of what Samsung is asking. On the other, 4K is in its infancy, and here we are now having to debate over the need—dare I say relevance—of 8K. And yet, despite all my years in this business, the notion that an 80-inch 8K display exists does little to rev my proverbial engine. Samsung’s 8K display does little but make me spec drunk.

 

Many products over the years have made me spec drunk. That is to say, they’ve been beyond impressive on paper. Upon closer inspection or following first-hand experience, they proved no different than much that came before them. Specifications only tell half of a product’s story, and it’s the half that makes for a juicy Internet post, not so much what it’s actually like to live with and use said product.

 

For example, I am a photographer by day, and in that community the camera of the moment belongs to Sony and their A Series of mirrorless cameras. On paper (and on vlogs), the A Series cameras are without equal, and yet I don’t think you could give me one—again.

Yes, I once spent thousands of my own dollars chasing specs and joining the rest of the photographic world in switching from DSLR to mirrorless. I spent almost two years trying to convince myself of Sony’s superiority. I was desperate to fall in love with my camera’s specs and to see that love somehow manifest itself in the work I was creating.

 

Only I didn’t, and it didn’t. I became so frustrated with the user experience that I began to dread picking up the camera. Eventually I sold all my Sony gear and went back to the camera system that had served me well since Day One.

 

Specialty AV is no different, and the constant “noise”

Specs vs. User Experience

that specifications generate can be daunting, if not overwhelming. Moreover, specs are designed to create a sense of FOMO in consumers, for who wouldn’t want eight times more of something? Eight times more TV than the TV you’re likely watching, which was sold to you as being four times the TV of your last TV—and so it goes.

 

And yet, when pressed, my friends in and around this business rarely, if ever, speak fondly of the latest equipment adorning their racks or walls, but rather of equipment of systems past. Is this due to nostalgia? Is it because products of yesteryear were simpler, more straightforward? I don’t pretend to know. What I do know is that the user experience tells a lot more of a product’s story, and it’s the part of the story that resonates long after the newness of a billion more this and a trillion more that wears off.

Andrew Robinson

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

Small Room–Big Sound

Generally, when you think of a media room or home theater, it conjures up images of a fairly large space. Lots of seating, huge screen, drapes, columns, etc. And I would say most of the media/theater rooms I have worked in over the years are in the 18 x 25-foot ballpark, usually with 10-foot ceilings. Sometimes the areas are much bigger.

 

But do you need a large room to enjoy a luxury experience?

 

A few months ago, I reviewed a dARTS (Digital Audio Reference Theater System) audio system. Generally, I review gear in my living room, which is a fairly large space that opens up to both a kitchen and a nook area. With the room’s layout, I sit about 13 feet from my front channels and screen, and about 15 feet from my side surround and rear surround speakers.

Small Room--Big Sound

dARTS 535 Series digital surround theater system

But, due to the style and design of the system I was reviewing, installing it in my living room wasn’t practical. Instead, I installed the 5.2.2-channel speakers in a new bedroom we had built onto our home a couple of years ago. The room measures roughly 13 x 15 feet and has 9-foot ceilings—in other words, a bedroom size you would find in just about any home.

 

When I first started listening to the system, I was amazed at how much more detailed things sounded. Not that dialogue was suddenly clearer or that music notes were sharper, but how I was just constantly more aware of and noticing those distinct little sounds and Foley effects that are often buried in the background of a movie’s soundtrack. Small creaks and subtle ambient cues like leaves rustling, footsteps walking around in the distance, rain pattering outside. Watching It on this system—a movie with an absolutely fantastic and immersive Dolby Atmos mix—was absolutely terrifying, especially the scenes within the sewer and in the house on Neibolt Street.

 

And due to how the overhead speakers were installed (using a portable lighting rig re-purposed as an in-ceiling speaker holder to avoid cutting 10-inch holes in my new ceiling), they were 8 feet off the floor, or about 4 feet above my seated listening height. Compared with the “reference” system in my living room—which has vaulted ceilings spanning up to about 15 feet at the peak, with the four height speakers about 10 feet above my seated position—this produced overhead audio that was far more noticeable and localizable. When something was meant to sound as if it was happening above you, it happened right above you. Being in the center of this 5.2.2 speaker sphere produced incredible audio pans—front to back, side to side, top to bottom, sound just traveled with perfect tracking all around and over me.

 

Because there is less air to “energize” in a small room, you can use smaller speakers and still hit high sound-pressure levels, which helps from both a design and budget standpoint. Instead of one or two massive subwoofers, four small subs will deliver greater and smoother bass throughout. And because you’re physically closer to the speakers, you can generally listen at lower volume levels and still get a reference experience. I wasn’t blasting the system to feel bass impact waves or to be aware of the overhead and surround channels. In fact, I often listened at 10 to 15 dB lower than usual.

 

The smaller space also meant there were far fewer sonic distractions from other parts of the house—you know, the background-of-life sounds that every home has. Those hums, clicks, whirs, and other environmental noises all must be overcome in order to hear the soft sounds within a film or audio recording. Lower the background noise, and the sounds you want to hear are much easier to pick out.

 

In a way, this intimate, small-room experience was like listening to a pair of really nice headphones . . . but better! For one, I could share it with others. Two, headphones can’t deliver the same full-body bass impact of a great subwoofer. And three,

where headphones struggle to produce and place actual surround sound, this system did that in spades.

 

And guess what else? Because I was sitting much closer to my display, the 60-inch screen seemed far more cinematic.

Small Room--Big Sound

To be fair, some credit certainly needs to go to the fantastic sounding dARTS audio system and Marantz AV8802A processor (shown above). This combination would retail for just north of $20,000, and dARTS’ unique implementation of Audyssey room correction is a fair measure of the system performance’s “secret sauce.” Had I just tossed some entry-level gear together, the experience surely wouldn’t have been as impressive. (You can read my review here.)

 

Not only does every home have a small space or two that could be the perfect media room candidate, it might just turn out to deliver the best experience in the house. (For more on making the most out of a small space, read the “So You Think Your Room’s Bad” posts from Mike Gaughn & Dennis Burger.)

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 a Luxury Entertainment System: The Basics

Now that we’ve roughly established what a luxury experience is, it’s time to start talking about the minimum components required to create an entertainment system. In my experience working with thousands of clients over a 20-year career as a custom installer, I’ve found that the vast majority of people starting out don’t really have an idea what is required to create a surround system.

 

And whether you’re spending $5,000, $50,000, or $500,000, there are some essential components that are needed to create a luxury entertainment experience in your home—namely, a display, speakers, an audio processor and amplification, source components, a control system, and installation. Highly recommended would also be some comfortable seating, lighting control, and room treatments to tame the audio “beasties” that live in all but the most bespoke entertainment spaces. Here are brief descriptions of each essential ingredient—future posts will dive into greater detail.

 

Display

Frequently the most visible portion of an entertainment system, the display—whether a flat-panel TV or a projection screen—needs to be big enough to provide a cinematic viewing experience while not being so big that it overwhelms the room or 

makes viewers sitting close feel like they’re watching a tennis match. While not set in stone, for the purposes of Cineluxe, the minimum screen size should be around 75”.

 

Speakers

With few and rare exceptions, the speakers built into modern TVs are garbage and should never be considered adequate for providing decent sound, let alone a luxury experience. At a minimum, a surround system requires a 5.1-channel speaker configuration. This includes three front speakers near the display—left, center, right; two surround speakers often at the side of or behind the listening position; and a subwoofer (the .1), which handles the LFE (Low Frequency Effects) channel (that is, bass information like explosions and dinosaur foot stomps). As you get into larger rooms—and more advanced systems—the speaker count can go far above 5.1 to well over 30, with multiple subwoofers.

Audio Processor & Amplification

Surround sound audio is typically delivered in a digital format called a bitstream, which is made up of the 0s and 1s necessary to deliver an immersive audio experience. But you need a component that can decode all of this information and route it to the correct speaker. The most common surround formats are from Dolby and DTS, and they come in multiple formats such as Dolby TrueHD, Dolby Atmos, DTS-HD, and DTS:X. Once the signal has been decoded, it needs to be amplified before being sent to the speakers. Many systems combine these functions into one device called an AVR, or audio/video receiver. But many luxury systems use separate, specialized components for these tasks, to improve performance.

Trinnov Altitude 32 audio processor

Source Components

These provide the content you’re watching and/or listening to. Typical source components include a cable or satellite set-top box, a Blu-ray Disc player, a video game console, and a network streamer. To be considered luxury, a system needs to contain at least one 4K HDR-capable component, such as an UltraHD Blu-ray player, Kaleidescape Strato, Xbox One X, or AppleTV 4K.

 

Control System

By the time you combine all of the components required to create an entertainment system, you’ll have amassed a pile of remote controls. No system—but least of all one striving for luxury performance—should require multiple remotes to operate, so a single control system should be employed that can operate the majority of tasks with one, simple button press . . . or even a voice command.

 

Installation

In the hands of an untrained cook, even the most fantastic ingredients can result in an unappetizing or substandard dish. Similarly, no matter how great each of the individual pieces are, the entire entertainment system needs to be installed, integrated, and configured correctly to deliver its maximum performance. For most people, this requires hiring a professional installer whose job it is to tie everything together correctly.

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.

Oppo is Dead, Long Live Oppo

Oppo

How’s this for timing? Just days after pimping my Oppo Ultra HD audiophile disc player as the king of the hill in my media room entertainment system, this happens. As of this week, the company has announced that production of its lauded disc players, audio systems, and headphones is winding down.

 

“As announced on April 2nd, 2018, OPPO Digital will gradually stop manufacturing new products,” reads a letter linked on the company’s homepage. “Existing products will continue to be supported, warranties will still be valid, and both in-warranty and out-of-warranty repair services will continue to be available. Firmware will continue to be maintained and updates released from time to time.”

 

To say the least, this is a sad day for videophiles. You could chalk this up to the gradual decline of disc sales, the prominence of streaming, the fact that people who rent their movies almost never rent physical media anymore. And you’d probably be right, to a degree.

 

The one argument I would make to counter that is that there’s still a very healthy market for discs. The massive decline in sales that everyone keeps touting? It was 14% last year. 10% the year before—the first year in which streaming overtook disc sales. That’s hardly doom and gloom.

 

What makes all of this so much worse is that there just isn’t another Oppo out there. Pick your favorite display manufacturer. Or speaker manufacturer. Or receiver manufacturer. If they disappeared tomorrow, you’d still have plenty of high-end alternatives.

 

Oppo, though, so thoroughly defined the high-end disc-player market that any alternatives I can think of off the top of my head were actually Oppo players at the core, perhaps with a different power supply or digital-to-analog converter chip.

 

When the last Oppo is boxed up and shipped to its last customer, what option does the up-and-coming videophile have? Get an Xbox One X, I guess. Or be done with discs once and for all and embrace Kaleidescape’s pixel-perfect digital downloads. The former is great as a disc player and a heck of a media streamer to boot, and the latter is undoubtedly the videophile future.

 

Still, losing Oppo feels like losing a friend. In its 14-year run, I’ve owned at least one player from every generation of the company’s offerings, and the latest are, without question, its greatest. I suppose there’s something to be said for going out on top of your game. There’s also something to be said about the fact that the UDP-205 was probably going to be the last disc player I would ever need anyway—especially given that I’m still using the company’s first-ever Blu-ray player in a spare bedroom, and it still works like the day I pulled it out of the box.

 

Is it silly to mourn the passing of a company? Perhaps. But when that company literally has no peers, what can we do but mourn?

Dennis Burger

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

How the XBox Became My Favorite Video Player

Xbox One X

I just finished reading Dennis Burger’s ode to his Roku Ultra, and it inspired me to write one of my own—to my Xbox One X gaming console, which has positioned itself as the preferred video playback device in my everyday home entertainment system.

 

I reviewed the Xbox One X for HomeTheaterReview.com a few months back. As I stressed in that review, I’m not a gamer by any stretch of the imagination, but I have reviewed my fair share of Ultra HD Blu-ray players, as well as many generations of streaming media players from Roku, Apple, Amazon, and Nvidia. My approach to the Xbox review was to answer this question: Does this gaming console succeed as a complete all-in-one media player? Spoiler alert if you haven’t read the review: It does.

 

What’s my proof? Well, four months later, the Xbox One X remains the sole set-top box connected to my living-room TV, while an Apple TV 4K, Roku 4, and Amazon Fire TV sit idle in a box in my office/test studio. Sure, I’ll pull one of those players out when I’m reviewing a TV or projector, along with my Oppo UDP-103 Ultra HD Blu-ray player.

 

But the player I choose to use on an everyday basis is the Xbox. Why? Because it really does give me everything I want in one box, with one common user experience.

 

First of all, the Xbox One X is the only gaming console to sport an Ultra HD Blu-ray player, so I can pop in UHD Blu-ray discs when I want the highest-quality video experience. I use a Polk MagniFi Mini soundbar in this everyday space—but if I had a surround sound/Atmos system here, the Xbox One X could accommodate it, too. I can also pop CDs into the disc drive . . . and only listen to them halfway through.

 

Second, the Microsoft Store includes all the streaming apps my kiddo and I use on a regular basis. That includes Netflix, Prime Video, Sling TV, Vudu, Tablo, PBS Kids, YouTube, and Pandora. Here I will confess that I do miss the convenience of voice search offered by Roku, Amazon, and Apple . . . but apparently not enough to make a switch.

 

As a cord cutter, I no longer have a cable or satellite set-top box. If I did, though, I could pass it through the Xbox’s HDMI input and unite that source into the user experience as well.

Xbox One X

And then there are the games. Over the years, the kiddo and I have casually enjoyed the simple, family-friendly games that are available through platforms like Fire TV and Apple TV—such as Crossy Road, Pacman 256, and Hill Climb Racing. But now my daughter’s eyes have been opened to a glorious new world filled with Minecraft, Super Lucky’s Tale, Star Wars Battlefront, and Rush: A Disney Pixar Adventure—and I’m afraid there ain’t no going back to Minion Rush.

 

As I said in my original review, if you look at each of the above categories individually—UHD Blu-ray player, streaming media player, or music player—of course you’ll find better performers. Products that deliver a higher level of AV performance or a better user interface. But the Xbox One X does it all quite well, and for me the convenience of being able to jump from a game like Minecraft to a streaming source like Netflix to live TV through Tablo and then to Planet Earth II on UHD Blu-ray—without having to switch inputs or remotes—is just too darn enticing to pass up.

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. Adrienne lives in Colorado,
where she spends far too much time looking at the Rockies and not nearly enough time
being in them.

An Ode to My Roku Ultra

Roku Ultra

In her latest missive in our ongoing back-and-forth about media rooms—how to define them, how to design them, how to get the most out of them—Adrienne Maxwell made a point I want to make sure doesn’t get overlooked. In her discussion of sources that support High Dynamic Range, Ultra High Definition video, she points out that streaming media players like Roku are a great way to bring some truly great video content into your media room without breaking the bank.

 

Nothing could be truer. But I hope readers don’t mistakenly think Adrienne is positioning the Roku Ultra (or new Apple TV, or the Nvidia Shield—take your pick) as merely the low rung on the ladder of AV bliss.

 

Sure, if pixel-perfect presentation is the only criterion we’re talking about, my Roku Ultra fits into the “better” box of the good/better/best hierarchy in my own media room, with my satellite receiver holding down the “good enough” fort and my Oppo Ultra HD audiophile disc player currently sitting at the top of the hill.

 

But are perfect pixels the only thing I care about? When I’m watching Blade Runner 2049, absolutely. I’ll accept no less than perfection. At times like that, only a shiny silver disc will do. But what about the nightly news program I stream via YouTube? Or my weekly fix of The Star Wars Show? Honestly, nearly every box connected to my home theater system will stream those programs just fine. But none do so nearly as well as my Roku Ultra, with its instant-on accessibility and its ridiculously intuitive user interface.

 

All of the bonus features for The Last Jedi I recently reviewed? I didn’t plop in the bonus Blu-ray disc. I redeemed the digital code and streamed them via my Roku. It loads faster and is easier to navigate. When my mother-in-law visited last week and wanted to catch up on This is Us? I didn’t slog through the OnDemand menus from my satellite provider and wait for each episode to buffer. I turned to my Roku Ultra and asked it which streaming service had past episodes available for free.

 

If I won the lottery tomorrow and had the opportunity to build the home theater of my dreams, I can assure you, without question, that my first purchase would be a Kaleidescape Premiere System with banks of servers to store my massive movie collection. But I can also guarantee you this: Alongside those racks of hard drives—out of view, perhaps, but never out of mind—there would still be a space reserved for my lowly Roku Ultra.

 

Because other source components may outclass it, but nothing can replace it.

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.

What are the Media Room Essentials?

media rooms

Continuing our conversation about media rooms, I’m going to run with Dennis Burger’s initial premise that, for a room to qualify as a media room, some thought and effort have to go into creating the highest quality AV experience your space and budget will allow. Simply plopping a 55-inch HDTV, cheap soundbar, and set-top box on a TV stand in your family room doesn’t magically transform the space into a media room.

 

I contend that a high-quality media room system does two things: It offers great AV performance and it embraces the advanced technologies of the day. The beauty is, in today’s AV landscape, you don’t necessarily have to spend a fortune to get both of these things.

 

Here’s what I consider to be the core elements of a modern media room system:

 

A Large-Screen UHD Display

Just like in a dedicated home theater, a media room needs a large screen that draws you in and allows you to feel truly immersed in the source content, be it a movie, TV show, or game. The display should be the focus of your eye (at least when the system is turned on), and the room’s seating and layout should reinforce that principle.

 

What constitutes a large screen? It kind of depends on your room and how far the display is from the seating area. I’d say the screen needs to be at least 65 inches in a smaller room and 75 inches or more in a larger room. At these screen sizes, 4K resolution on its own isn’t crucial, but the other aspects of Ultra HD—namely, High Dynamic Range and expanded color—represent the best of what the video world has to offer right now. Once you see high-quality HDR content on a high-performance TV like an OLED, you won’t want to go back to standard dynamic range.

 

A word of warning: This is one area where you may get what you pay for. Lots of budget LED/LCD TVs support HDR but don’t deliver the level of contrast needed to fully exploit it. You really need an OLED or a good LED/LCD TV with a full-array backlight and local dimming technology to make the most of HDR.

 

An Ultra HD Source

You can’t enjoy HDR if your sources don’t support it, and it’s not difficult or even terribly expensive to upgrade to UHD-friendly source devices. Pretty much every new UHD TV is also a smart TV with UHD-capable streaming sources like Netflix, Amazon Video, and Vudu built right in. The newest streaming boxes from Roku, Apple, Amazon, and NVIDIA support HDR and are priced under $200 (some of them are priced way under that).

 

For those who have more to spend, it’s tough to beat the user experience of a Kaleidescape 4K movie server. And the company’s Movie Store offers 4K downloads that match the AV specs for Ultra HD Blu-ray.

 

We’ve also reached the point where every major Blu-ray player manufacturer now offers at least one Ultra HD model (if not more), and entry-level models are priced around $150. Many of these players also support hi-res audio playback via disc, USB, or streaming, so they can serve as a high-performance audio source, too.

 

Gamers can enjoy a complete 4K multimedia experience in one box, thanks to consoles like the Xbox One and Playstation 4 that support 4K/HDR gaming and streaming video. The Xbox One even adds an Ultra HD Blu-ray player.

 

Surround Sound

Just as the big screen will immerse you visually in the source, surround sound is a must for creating that “you are there” experience. If you hate the idea of running wires across the room, there are now plenty of creative ways to incorporate wireless surrounds. A 5.1-channel system is the minimum, but I’ll take it a step further and suggest that your system at least needs to be upgradeable to support 3D formats like Dolby Atmos and DTS:X.

 

3D audio adds a height element to complete the soundstage, and you can get Atmos and DTS:X decoding in 7.2-channel receivers costing as little as $400. A 7.2-channel receiver only gives you two height channels, but it’s better than nothing. There’s no shortage of in-ceiling speakers at all price points that can serve as the height channels. But if your room can’t support overhead speakers, check out all the Atmos modules designed to sit atop your existing speakers and bounce sound off the ceiling. This path provides an easy and inexpensive way to upgrade your system as your budget allows.

 

A Unified Control Experience

Nobody wants to look at a pile of remotes on the coffee table, let alone have to use them all in order to launch media playback. A universal remote control is essential. Logitech’s Harmony brand still reigns supreme in the world of third-party universal remotes, and TV manufacturers like LG and Samsung have really upped their game in the control department, making it easer to control multiple sources with the TV remote and adding support for Alexa and Google Home voice control.

 

The wide range of smart lighting systems and window treatments makes it easier and cheaper than ever to add automation elements to your media system without having to invest in a full-fledged control system—although there’s no denying the appeal of a well-executed Control4 or Crestron setup, should you choose to go that route.

 

There you have it: My list of must-have components in a media room. Do you agree or disagree?

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. Adrienne lives in Colorado,
where she spends far too much time looking at the Rockies and not nearly enough time
being in them.

Kaleidescape’s Interface Gets Even Better

Kaleidescape

Going back through previous posts I’ve written, I discovered it’s been more than five years since Kaleidescape launched its industry-leading online download store at store.kaleidescape.com.

 

In that post on the Movie Store’s beta launch, I reminisced about a conversation I’d had with company founder and now CEO, Cheena Srinivasan, back when I was sent the first Kaleidescape server to review. The concept of a movie server was completely new at the time, and generic descriptions like, “It’s like a giant iPod for movies” didn’t nearly do the product or experience justice. And they didn’t begin to do justice to Cheena’s vision for the company. “We want to be more than just a media-management company,” he told me. “We want to eventually get into content delivery.”

 

I’m sure Cheena had no idea back in 2002 exactly what would be involved with accomplishing that, as we’ve had numerous conversations since where he’s discussed the challenges of negotiating and building relationships with the Hollywood studios as the company secures digital rights for films in the highest audio and video quality.

 

Over the past five years, Kaleidescape has continued to grow and develop its online Movie Store from standard-definition (DVD-quality) titles at launch to adding a slate of Blu-ray-quality titles to now featuring films, concerts, and TV content from more than 25 studiosincluding 400 Ultra HD titles, many of which feature HDR and next-generation audio formats like Dolby Atmos. The company has also increased its bandwidth, and can now deliver content at speeds up to 300 Mbps.

 

One fundamental thing that hasn’t changed since the Movie Store was launched is the way you browse and buy movies, which requires using a Web browser. While this approach has served the company’s user base for yearsand, in fact, is a great way to buy movies when you’re not at home, so they’re ready for viewing later that dayit lacks the elegance of the rest of the Kaleidescape user experience.

 

When I visited the company’s headquarters in Mountain View, CA last November, I was given a sneak peak at the team’s latest development for the Movie Store—integrating the Store into the onscreen interface. Finally, this past week, Kaleidescape unlocked the onscreen Movie Store for dealers in a beta test prior to releasing the feature to customers.

 

I’ve had a chance to play with the new Store interface for a bit, and it is really terrific, retaining the slickness and user-friendliness the Kaleidescape experience and interface is known for.

You access the Store by pressing the Menu button on the remote, which brings up browsing options that include Listwhere you can browse your movie library sorted by title, actors, director, release date, running time, genre, or ratingCovers, Collections, and Movie Store. The Parental Controls tab has been moved to a tab of its own.

 

Once inside the Store, it’s easy to browse films sorted into a variety of collections, including Featured, New Releases, and 4K HDR, as well as popular genres like Action, Drama, and Comedy. The Store also has some dynamic collections that will regularly change, such as 2018 Oscar Nominees and Superheroes.

 

Pressing Enter on a film brings up the familiar movie-details screen, which includes information like running time, rating, aspect ratio, Rotten Tomatoes scores, a brief synopsis, genre, cast, director, and studio. It also displays the versions the film is available inHDR, UHD, HD, and SDas well as the price of each. You can also see the audio tracks available for each version.

 

The onscreen Store has some terrific options for browsing and exploring collections as well, letting you dive into a specific genre or actor, or view similar films. There’s a simple three-icon screen for navigating as well, with one icon for exploring similar films, another to go back a level, and a third that takes you home to the top screen.

 

An intuitive yet powerful search function also lets you hunt for films, actors, directors, or collections, so you can find exactly what you’re looking for.

 

Clicking Purchase prompts for a 4-digit passcode to confirm, keeping guests or young ones from racking up a massive download bill.

 

Check out the video above, where I provide a thorough look at browsing the new Store. This feature is currently available to dealers, and will go into a wide release to all owners shortly.

—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.

The Evolution of Front Projection

front projection

In his recent contribution to our ongoing discussion about media rooms, Theo Kalomirakis wrote about the need, as an AV system integrator, to approach the media room concept with an open mind. Whereas he once shunned media rooms as a lesser alternative to a dedicated home theater, he now acknowledges that the demand for more casual home entertainment spaces is growing, and the industry needs to creatively adapt.

 

Perhaps no segment of the home theater market has needed to adapt as much as the front projection category. Nothing screams dedicated home theater like a projector, and getting people to embrace the use of a two-piece video system over a big-screen TV in a den or living room is certainly a challenge. It has forced both projector and screen manufacturers to think outside the light-controlled box known as the theater room.

 

Projectors used to be divided into two main categories: home and business. Now the home market has further splintered into home theater and home entertainment. For a home theater projector, black level is king. You want a projector that can serve up lusciously deep blacks to give the entire image a greater sense of contrast and depth in your fully light-controlled room.

 

But, when people move out of the theater and into a den or media room—where the lights often stay on and daytime TV watching is an expected practice—a projector’s light output becomes a lot more important. These days we see a lot more 2,500- to 3,200-lumen projectors at lower price points. Epson’s premium Pro Cinema line even includes several ultra-bright models in the 4,800- to 6,000-lumen range.

 

Projector manufacturers have also been forced to make their products a bit more TV-like in their features, adding things like TV tuners, built-in speakers (which, in most cases, sound even worse than the speakers in flat-panel TVs, if you can believe it), instant on/off light sources, and MHL/MiraCast support to stream media content from mobile devices. LG has incorporated its WebOS smart platform into some of its DLP projectors.

front projection

Of course, no matter how bright a projector is, your basic matte white 1.0-gain screen just isn’t going to cut it in a well-lit room where people want to watch NFL football on Sunday afternoon. Screen manufacturers have also had to adapt, which has given rise to the hugely popular ambient-light rejecting (ALR) screen. As the name suggests, screen materials like Screen Innovations’ Black Diamond (shown above) are designed to reject light from nearby windows and lamps to improve image contrast. We’re also seeing a lot of “zero bezel” frames with sleeker designs meant to mimic the look of a flat-panel TV.

 

But there’s still that whole “two-piece system” problem. A TV is a nice, self-contained unit, and that’s what a lot of people want. They don’t want a projector on one side of the room and a screen on the other. Enter the ultra-short-throw projector, which can cast a big image from a small distance.

front projection

One of the more interesting categories to emerge is what I’ll call the all-in-one AV projection system—like Hisense’s new Laser TV system, which combines a 4K-friendly ultra-short-throw projector with a 100-inch screen and a Harman/Kardon sound system. In the same vein, Sony’s upcoming LSPX-A1 (shown at the top of the page) omits the screen but builds the native 4K projector and sound system into an attractive furniture cabinet (shown above) that blends into the room’s aesthetic when it’s not delivering an immersive AV experience. While pricey, these designs represent exactly the kind of creative thinking the AV industry needs as it moves outside the home theater.

—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. Adrienne lives in Colorado,
where she spends far too much time looking at the Rockies and not nearly enough time
being in them.

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Dolby Cinema–The Ultimate Movie Experience

Dolby Cinema

As home theater enthusiasts, we focus so much of our attention on the home experience that sometimes it’s easy to forget what home theater is really all about: Replicating the commercial cinema experience.

 

Granted, there is much about watching movies at home that can be far superior to jumping in the car and heading down to the local megaplex. The food and drink at home is better (and cheaper), the movie starts/pauses/stops on your schedule, you have total control over who you’re watching with, and the picture and sound quality are of known quality.

 

But, when done right, the commercial cinema experience can be fantastic, and I recently saw a film at a Dolby Cinema theater that reminded me of just how truly great a movie theater can be.

 

After CES ended, I had quite a bit of time to kill between the show ending at 4 pm Friday and my flight departing at 1 am Saturday. And while my usual practice is to while away as many hoursand drinksas possible at the Las Vegas McCarran American Express Centurion Lounge, this year I decided to take a Lyft across town and visit the AMC Theater in Town Square 18.

Dolby Cinema

My sole previous experience with a Dolby Cinema was at the company’s headquarters in downtown San Francisco. That building occupies 68,000 square feet and features mixing rooms for working with both Dolby Atmos and Dolby Vision. It also contains a reference-standard lab (aka “theater”) where Dolby technicians can develop next-generation imaging and sound technologies.

 

The stars aligned as I just happened to be out visiting my parents in the Bay Area when Dolby launched the facility with the first screening in the new theater. That experience was so over-the-top impressive that I couldn’t wait to actually experience a Dolby Cinema in the wild.

 

Unfortunately, there aren’t any Dolby Cinema locations near me in South Carolina, making it a tough proposition. (Here’s the full list of locations.) Which is why once I discovered that this AMC cinema was outfitted with a Dolby Cinema screen, I knew it was a destination I had to add to my Vegas agenda.

 

A lot of components go into making the Dolby Cinema experience so impressive, and it starts before you even enter the seating area. This is a concept Dolby calls “inspired design,” which is meant to transport viewers into another space to be fully absorbed in the cinematic experience.

 

An audio/visual pathway with a full-motion HD video wall and immersive sound sets the mood as you walk into the auditorium. Once inside, your first impression is of the massive 68-foot-wide screen. This screen is so large, in fact, that I wasn’t even able to zoom my phone’s camera out enough to capture the whole thing in one frame. Compare that to what would be an insanely large home theater screen at around 14.5-feet wide (200-inch diagonal) and you can appreciate just how impressive this is.

 

The next thing you notice is the blackness. Everything is black. The walls, the ceiling, the area surrounding the screen, the seats, the carpeting. Sure, there are some colored accent lights, but this overwhelming black just sucks up all the light in the room and focuses all attention forward on that massive screen.

Dolby Cinema

There are 214 seats (plus seven ADA spots) in the Town Square’s Dolby Cinema, and you reserve your seat when buying your ticket. All the seats are oversized faux-leather powered recliners positioned in pairs where you can raise the middle arm rest to create a loveseat for couples. Even more amazing, the seats are positioned so you can’t see anyone behind or below you, making you feel like you’re in for a truly personal presentation.

 

But the really big deal, of course, is the theater’s picture and sound presentation, which is absolutely top notch and exceeds any movie-watching experience I’ve hadand that includes viewing movies at the Stag Theatre at Skywalker Ranch. (To be fair, it’s been several years since I’ve seen a film at the Stag, and it was actually still using film at the time, which is at a real disadvantage to a modern digital projector.)

 

The power behind the Dolby Cinema image quality is two Dolby co-designed and custom-built Christie Laser projectors, which Dolby describes as “quantifiably higher performance than any other technology out there.” These projectors deliver a staggering 31 foot-lamberts on screentwice the brightness of the SMPTE recommended standardproducing a picture that is more like watching a giant flat panel than a projector.

 

The Christies also have 500 times the dynamic range of a typical cinema projector, delivering the lowest black levels of any commercial projector, and producing an unbelievable 1,000,000:1 contrast ratio. They can also reproduce true HDR images that have been graded in Dolby Vision specifically for these projectors. To drive the point home, a small clip runs prior to the movie that shows what you thought was blackkind of a deep greybefore showing what Dolby Cinema black is all about. It’s a new level of black, like watching an OLED next to an old DLP.

The second aspect that makes the presentation so spectacular is a full array of Dolby Atmos speakers, which completely immerses you in the audio presentation. (I reached out to Dolby for specifications on the Town Square theater as regard speaker numbers and wattage. They didn’t have specifics on that installation but said that, “The number of speakers varies from [theater] to [theater], based on the room size . . . [but] enough speakers [are installed] to ensure a smooth pan through of audio around the room.”) The sound is clear and detailed, with objects that swirl all around and overhead, and with bass that is massive, deep, and incredibly tight. Transducers in the seats also physically convey the impact as well.

 

The movie I saw was the latest Liam Neeson thriller, The Commuter, which was basically Taken-on-a-train, but offered some big explosions and action scenes that looked and sounded terrific.

 

If I had one minor quibble over the experience, it was that the movie started practically an hour after the scheduled showtime due to a string of now-coming trailers that seemed to never end. Honestly, I enjoy trailers, and the picture and sound were so good I didn’t have a big problem with it, but if I were on a time crunch, it would be nice to know when the actual showtime was compared to when the trailers begin.

 

Without question, Dolby Cinema is the best movie experience most of us will ever have. And if you’ve been turned off on going out to the movies, you owe it to yourself to visit one. If I lived near a Dolby Cinema, I would never see a movie anywhere else.

—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.

REVIEWS

Wonder Woman review
Blade Runner: The Final Cut review
Lawrence of Arabia review

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