home theater design Tag

A Media Room by Any Other Name

Making sure we have access to a high-quality movie-watching experience may become more important
now that our entire cinema experience may be our home cinema experience

In 2018, the last time I was in Paris, my wife and I were fortunate enough to visit the Musée de l’Orangerie before the crowds arrived. The Orangerie is where, along with many Impressionist paintings, Claude Monet’s extraordinary Water Lilies paintings are exhibited. Spellbinding! Unfortunately, many will never experience this in person; however, many will “see” these works in print, on screen, or via some other convenient conveyance. I assure all, until I visited Water Lilies at the Orangerie, I had not truly seen the masterpiece that Monet created. Being in the presence of the works themselves was indeed an advantage, but that is not all. The environment completed the experience. The artist knew this. In fact, Monet assisted architect Camille Lefevre with the architectural design. He even required skylights so the paintings would be viewed in natural light. The result, an experience I will repeat as often as I visit Paris!

 

What about Film? It has been called “the most complete, truly contemporary art form . . . a most marvelous machine for emotion” (Renzo Piano, architect of the new Academy Museum of Motion Pictures). Film, as an art form, has as unique a set of challenges. Its artistic value is in its effect on the individual, when tears, laughter, memories, or thrills materialize unforeseen. Does the environment play a part in this interaction? It might be said that those who want to experience the film art-form at its best should seek out those exhibitions dedicated for that purpose, the commercial cinema. Although, even if it 

A Media Room by Any Other Name

Claude Monet’s Water Lilies at the Musée de l’Orangerie, Paris

were possible during this pandemic (or advisable after), most commercial cinemas fall far short of that standard! Many may say that the right environment for viewing movies in the home is not a theater but a media room. But such blanket statements do not address important considerations, and labels such as commercial cinema, home theater, and media room do not unequivocally describe ideal solutions.

 

What considerations are vital in choosing the right environment to enjoy movies and other forms of entertainment in our homes? To truly get the most enjoyment from any media, be it movies, television series, music, or games, we need to become fully engaged. The state of full engagement is that magical time when the participant experiences the fullness of whatever media they are involved in. With music, the performance, timbre, rhythm, and mix coalesce into a whole in which a listener can be captivated. In games, the avatar becomes of greater substance than oneself. In film, the story, drama, imagery, sounds, and more create a realism that captivates us like no other experience. This “suspension of disbelief” is the essence and objective of these forms of entertainment art. It cannot be experienced when multi-tasking. It cannot be sustained when distracted. It is magic and is to be desired. This ability to be fully engaged should inform all considerations when determining the type of media environment to acquire for our home. 

 

This engagement requires a distraction-free environment. It may surprise many that this quality is not exclusive to dedicated home theaters. It is certainly much easier to do so within that configuration; however, many traditional home theaters fall far short of that objective. Distractions can be caused by many sources, but the most commonly discussed is noise. Noise is particularly distracting because humans are designed to detect sounds, and once we do, it is very difficult to ignore them. 

The damage to the state of engagement and the suspension of disbelief is significant, immediate, and persistent. Our experience is visceral, emotional, and transient. Once a magical moment is disturbed, it is lost. Think of how frustrated we feel when someone’s cellphone rings in a movie theater. That moment in time is lost and cannot be regained, even when the content is replayed. It is different.

 

This is where the discussion of the right media environment—dedicated theater or media room—can become confusing. The labels do not help. For instance, even a beautifully decorated dedicated theater that has inadequate wall construction, noisy HVAC, projector, and other equipment fans (to mention a few common oversights), will be fraught with distractions and as prone to destroy magic moments as any room. On the other hand, a media room that shares space with other activities has inherent distractions in addition to those mentioned above. If those activities produce any noise at all and will be engaged in while participants are attempting to enjoy movies, music, or other media, distractions will result. But if such a multi-use room is designed to be acoustically isolated, and HVAC 

and other ventilation is kept to an inaudible level, such a room can provide a distraction-free environment. Of course, it will be necessary to limit competing activities when it is desirable to be fully engaged in a movie, music, or other program.

 

Distractions are not limited to noise. While sound quality is key to the experiences available in today’s movies, games, and productions, the quality of the visual imagery is just as important. Ever-increasing resolution, color gamut, and high dynamic range provide the tools to display astounding cinematography. Combine that with immersive sound, great stories, acting, and production, and you will want to get lost in the experience! Unfortunately, many popular design trends are not conducive to that goal. Natural light, light colors, competing design elements, casual seating arrangements, and other factors can compete with the visual experience. These are clearly desirable attributes for living spaces, but if the best media entertainment experience is a goal, they must be considered accordingly. 

 

Many will point to the rapidly developing LED technology as a solution that negates abundant natural light and lightly shaded décor as an issue. While it is true that these displays can provide hyper-realistic imagery even in high ambient-light conditions, the viewer is still part of the equation. If the objective is maximum enjoyment of an art form, especially movies, but also games and musical performances, distractions will impede that goal. When we are distracted, the engagement is broken and the magic is lost. If that were not the case, Monet would not have insisted on the right environment for his form of visual art! In fact, to achieve the desired results, what may initially seem to be desirable may be counterproductive. An example of this is the recent advent of immersive sound. Notable film producers, directors, and sound editors caution the overuse of these “desirable” effects because they take the audience’s attention away from the screen and subsequently out of the “spell” or suspension of disbelief. It requires a higher standard and is a more difficult challenge to achieve the artful and appropriate application of immersive sound to achieve the desired effect. In the same way, if we are to create media rooms that perform, we must not blindly follow design trends or even personal bias but instead accept the challenge and create interior environments that both support the purpose and are aesthetically pleasing. 

 

Distractions are not the only concern. There are many elements that need to be correct if the optimum media experience is the goal. This holds true in both dedicated-theater and media-room applications. In order to achieve the elusive suspension of disbelief, a lot has to take place. Of course, the production of the art itself must be well executed. Amazing cinematography and artfully crafted and often thrilling sound combined with compelling plots and talent is job one. But all that is for naught if it is not presented in such a way that faithfully reproduces the artist’s intent. Video imagery must be presented to viewers correctly and unimpeded. Listeners must receive the audio information accurately and as intended.  Achieving these characteristics requires careful engineering and integration of the technologies with the design. This is required in either a dedicated theater or a media room.

 

Labels can obscure the objectives. Thinking that a dark room with rows of seats and acoustical fabric walls will necessarily provide proper sight lines, viewing angles, and balanced immersive sound is just as inaccurate as thinking that these considerations don’t matter as long as the room looks good. Whether in a theater or a media room, sight lines, viewing angles (horizontal and vertical), as well as light and color considerations must be planned. Speaker positioning, dispersion, sound power, and acoustics must be correct as well. When we have properly addressed all the design and engineering considerations, the difference between a well-designed media room and a well-designed dedicated theater is hard to distinguish. However, if the term media room is being used to describe a great room with a large screen over the fireplace and speaker locations compromised due to traffic patterns, billiard table, windows, and vaulted ceilings, the difference is unmistakable.      

 

A great room as described above can be a wonderful part of the home, offering casual socializing, convenience to kitchens, patios, and access to other fun diversions. But if we were to modify the design of that space to support the performance we desire for our movies, music, and other beloved media, what would that look like? Would we be willing to lose the fireplace, the billiards, and the windows? Does the ceiling have to come down? But is that even necessary? What about those pivoting and invisible speakers, or a bigger screen over the fireplace, and doesn’t that room-correction system fix the acoustics? While these devices are available and even advisable for great-room applications, do not be deceived. There is a discernible and measurable difference between the entertainment experience in a multi-purpose room that includes the aforementioned compromises and that of a performance-engineered room that is not compromised, whether that room is called a cinema, theater, or media room. 

 

All of these rooms serve a purpose. More important, though, is the question of whether the room we design serves the right purpose. The pathway to success is not labels but thoughtful, objective design, scientifically valid acoustical engineering, meticulous engineering of systems, mechanical, and ergonomics, quality assurance, and professional-quality workmanship.The key that will unlock that pathway is communication. If the audience is not aware of the difference, and more importantly, the value of that difference and the impact it will have in their lives, the audience will not listen. However, like Monet’s Water Lilies, once experienced, there is no acceptable substitute for the real thing in the right setting. We should accept no less. 

Sam Cavitt

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

Cineluxe Trendsetters: Theo Kalomirakis

So much has been written about Theo Kalomirakis and his body of work—the subject of two bestselling coffeetable books and countless articles and videos—that there’s not much left to say. Except maybe that, for all of that attention, people still don’t have a good bead on exactly how innovative and influential his efforts have been, or that his theaters spring primarily not from an interest in gear or interior design but from a deep love for movies and the art of watching them.

Theo’s work is a sincere and natural extension of that love, which goes well beyond just being a fan to being someone who understands and appreciates the deep wellsprings that feed the art of the movies. And because of that almost naive sincerity, Theo in casual conversation is the same Theo you get in an interview on camera. He would make a lousy corporate spokesman because he always says exactly what he thinks and feels—which is why he has always been the best possible representative for the industry he gave birth to and continues to inspire, and for everything that’s great about watching movies at home.

 

We had a chance to do a a brief interview with Theo in his temporary apartment overlooking the Hudson River right before he departed for his new home in Greece—a move that included dismantling and shipping the entire private cinema in his New York City apartment to be reconstructed in his summer residence. We discussed the pandemic’s impact on moviewatching, how he was faring with an ad hoc system in his temporary digs, and whether 8K will represent the same significant stride forward as did the progression from VHS to DVD to Blu-ray to UHD.

Here’s hoping Theo will be back in the States sometime soon so we can record a more exhaustive, definitive exchange on his history, theaters, and legacy.

CINELUXE TRENDSETTERS

Inside a Film Connoisseur’s No-Compromise Home Theater

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

 

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

ed.

Inside a Film Connoisseur's No-Compromise Home Theater

Michael Kobb

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

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

 

How has your theater system evolved over the years?

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

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

 

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

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

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

 

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

 

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

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

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

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

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

Tell us about your current theater system.

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

 

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

 

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

Inside a Film Connoisseur's No-Compromise Home Theater

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

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

 

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

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

 

How about acoustic treatments?

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

 

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

 

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

Inside a Film Connoisseur's No-Compromise Home Theater

An interactive 3D tour of the theater

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

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

 

Do you have any upgrades planned?

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

 

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

 

Do you plan to upgrade to 8K as well?

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

 

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

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

 

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

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

Inside a Film Connoisseur's No-Compromise Home Theater

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

 

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

 

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

 

Any closing thoughts?

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

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

@SciaccaTweets and at johnsciacca.com.

Inside the Ultimate Home Entertainment Space

photos by Randall Michelson

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

 

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

—Michael Gaughn

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

 

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

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

 

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

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

 

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

 

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

Inside the Ultimate Luxury Home Entertainment Space

click on the image to enlarge

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

 

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

 

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

 

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

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

 

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

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

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

 

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

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

 

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

Inside the Ultimate Home Entertainment Space

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

 

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

 

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

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

 

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

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

 

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

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

 

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

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

 

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

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

 

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

 

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

 

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

 

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

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

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

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

6 Questions to Ask About a Private Cinema

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

Why private cinema?

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

 

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

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

 

What attributes should you look for?

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

 

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

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

 

Who can bring it all together?

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

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

 

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

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

 

When should I get the process started?

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

 

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

TRENDING IN PRIVATE CINEMA

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

 

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

 

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

 

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

 

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

S.C.

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

 

Where?

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

Sam Cavitt

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

Does Watching Movies Really Matter Right Now?

Does Watching Movies Really Matter Right Now?

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

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

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

 

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

Does Watching Movies Really Matter Right Now?

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

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

 

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

 

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

Sam Cavitt

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

Cineluxe Trendsetters: Sam Cavitt

In the second in our series of interviews with the people who define and drive luxury home entertainment, we talk to Sam Cavitt of Paradise Theater, which has offices in Maui and San Diego. 

 

Sam is part of a small group of home theater specialists who don’t fit completely into the traditional categories of technology integrator, acoustical engineer, or interior designer. His main function is to bring together and coordinate the best people in the various trades necessary for creating no-compromise luxury private cinemas.

 

Believing that the standards for experiencing entertainment at home have fallen as people have settled for good-enough rooms and systems, Sam has a launched a Cinema Connoisseur initiative to educate the public on what it means to have an exceptional movie-watching environment.

 

In the interview above, he talks about how commercial theaters no longer represent the gold standard for movie watching, the benefits of an expertly crafted private cinema, and his goals for Cinema Connoisseur.

RELATED POSTS

Cineluxe Talks To Paradise Theater’s Sam Cavitt

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

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

—Ed.

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

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

 

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

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

Sam Cavitt Interview

Sam Cavitt

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

 

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

 

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

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

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

 

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

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

 

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

 

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

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

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

 

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

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

 

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

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

 

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

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

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

A Great Home Theater is Like Fine Wine

A Great Home Theater is Like Fine Wine

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

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

 

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

A Great Home Theater is Like Fine Wine

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

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

 

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

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

 

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

A Great Home Theater is Like Fine Wine

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

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

 

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

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

 

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

ABOUT
PARADISE THEATER

 

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

—S.C.

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

 

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

 

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

Sam Cavitt

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

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.