John Sciacca Tag

Ep. 4: Luxury TVs 2019

After show hosts Michael Gaughn and Dennis Burger have the briefest possible discussion of the most boring Super Bowl ever, they’re joined art 4:14 by Cineluxe contributor John Sciacca and Wiirecutter AV editor and Cineluxe contributor Adrienne Maxwell to discuss the state of luxury TVs in 2019. At 21:54, the discussion shifts to the many things movie-streaming services like Netflix and Amazon have to do to make themselves more user-friendly. And the episode closes at 38:21 with everyone naming the things they feel are most neglected in mass culture.

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Why HTA is the Real Deal

Why HTA is the Real Deal

During the lengthy period where my career as a custom installer (beginning in March of 1998) and my role as technology editor (starting around 2000) have overlapped, I’ve written numerous posts similar to Eric Thies’ recent, “How to Find the Perfect Integrator.”

 

Sadly, none of them seem to have made much of a difference.

 

I agree with everything Eric said, but principally that most people take almost no time to vet their technology integrator. The bar being so low to becoming an integrator—most states will let you place a magnet on the side of your truck and call yourself Joe’s AV without even requiring a license for low-voltage work—has led to a glut of terrible work, and dissatisfied customers.

 

Over the years, our company, Custom Theater and Audio, has resurrected numerous projects for people who let the most random people into their homes to handle the technology install. Even though they comprehend that it’s too complicated for them to do, for whatever reason they think that virtually anyone else is qualified to handle their technology needs. I’m not even kidding when I say that some people say they hired “some guy” that was walking through the neighborhood putting leaflets on doors, had the flooring guy do it, used the electrician, used someone the electrician knew, etc. The tragedy is that most of these people ended up spending good money to get a system that was never right for their needs, never worked right, and then had to pay us more to come in and fix or replace it.

 

This is exceptionally frustrating and, frankly, bad for the entire industry because all installation companies end up being lumped together in the minds of people who have been burned by a bad installation. And them passing on their bad experience to others tarnishes the good along with the bad.

 

That’s one of the reasons why the Home Technology Association (HTA) mentioned in Eric’s post intrigued me: Could this certification identify the best integration firms and help the cream rise to the top? This would not only help customers looking to hire a good company but (more selfishly) help my company stand out as one of the good guys.

 

HTA’s Director of Certification, Josh Christian, says the goal of certification is to do for the custom installation industry what the Gemological Institute of America (GIA) has done for diamonds, allowing anyone to walk into virtually any reputable jewelry store and know that they’re purchasing a stone that has been independently verified for quality.

 

While HTA doesn’t guarantee that selecting a certified professional will result in terrific performance or outcome, in a sea of uncertainty, it certainly offers a beacon to help guide customers towards making a more informed selection from a pre-qualified group of top candidates.

 

My company recently went through the application process to became HTA Certified, and I can attest that it is a rigorous process, taking me several hours to research and gather all of the required information. Compared to the CEDIA (Custom Electronics Design & Installation Association) application, which has you fill out a single-page form asking only the most basic information (company address, size, gross revenue) and credit card information, and essentially approves any company willing to pay the $500 annual registration, HTA mines far deeper into how a company actually operates.

 

Josh said the application process is so thorough for two reasons. First, it helps HTA identify the best-in-class installation companies and provide a real look into their business operations and the kinds of jobs they do. Second, the sheer length and breadth of it scares away exactly the kinds of companies they want to avoid. (As does the $400 application fee, which has the applying company putting some skin in the game.)

Why the HTA is the Real Deal

Once certified, companies are listed on HTA’s website. (Click here—or on the image above-—to see our company page.) A consumer looking to hire an installation firm can get a pretty good idea if a company is going to be a good fit for their needs.

 

How long have they been in business?
Longevity is generally a good indicator that the company will be around when you need service down the road. Also, “bad” companies usually don’t last. The average HTA certified company has been around for almost 17 years.

 

How many employees do they have?
Larger companies can often handle bigger projects and respond to service issues faster.

 

What areas do they service?
Working with a company that’s near your home often means quicker response times and no trip charges.

 

What kinds of projects do they focus on?
If you’re building a $15 million, 20,000 square-foot home, selecting a company that focuses on $500,000, 3,500 square-foot homes might not be a good fit.

 

What brands are they authorized to sell?
This will give you a look at the quality of gear the company can provide. This can also be important if you’re interested in a specific automation system like Control4, Crestron, or Savant, as dealers often specialize in one, but not all.

 

How many projects have they done over the past 3 years in different price categories?
A good snapshot of how busy the company is, and the focus of their projects.

 

What does a typical dedicated theater and media room install cost?
It’s a good idea to see if your budgets align with the company’s typical installs. HTA’s website also has a 20-question budgeting tool that can be very useful for getting a rough idea of what your project’s budget range should be.

 

What industry awards and certifications do they have?
Bad companies generally don’t win awards or attain industry certifications.

 

What are their service policies?
No matter how good your system is, at some point it will need to be serviced, and knowing the company’s after-sale policy upfront is a good way to avoid any frustration later on.

 

HTA understands that its certification will only mean something if it actually means something, not only to the industry but to people looking to hire an integration firm. They’re trying to do this by only letting in the best firms, and raising awareness with architects, builders, designers, and consumers that choosing a qualified—ideally certified—integration firm matters.

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.

Online Movies Audio Face-off, Pt. 2

Online Movies Audio Face-off, Pt. 2

In Part 1, I wondered if you could hear any differences in Dolby Atmos surround sound on the various movie streaming services and movies downloaded from Kaleidescape, and decided to do a comparison between Vudu, Apple TV, and Kaleidescape to find out.

 

After an afternoon of listening tests, here are my results.

 

I have a pretty high-end audio system, consisting of the new Marantz AV8805 flagship preamp/processor, two Marantz seven-channel amplifiers, and a 7.2.6-channel speaker configuration that includes Definitive Technology Mythos ST-L tower

speakers, a Definitive Trinity Signature Reference sub, and an SVS SB-16Ultra sub. I watched all of the movies at the same volume setting: -15 dB.

 

For source material, I used my Kaleidescape Strato to handle the Dolby TrueHD audio on movies downloaded from the movie store, a Microsoft Xbox One S to stream content from Vudu, and an Apple TV 4K to play movies from the Apple Store.

 

I mined my movie collection to find multiple titles I owned across all three services that featured Dolby Atmos soundtracks. This allowed me to cue up the scenes on all three devices and fairly quickly listen to each scene in the different formats.

I watched a number of scenes from six films I’m familiar with: Ready Player One, Baby Driver, Blade Runner 2049, Gravity, Venom, and Jumanji: Welcome to the Jungle. After A-B-C’ing each scene multiple times, I can definitively say two things: 1) the TrueHD audio mix always sounded better, and 2) audio from the Apple TV 4K sounded substantially quieter and more compressed.

 

By far the most readily noticeable audio differences were in the low frequency range. Consistently, film after film, scenes with low-frequency activity were far more dynamic and impressive in TrueHD. The low end had more physical impact, producing frequencies I could feel, as well as pressure waves that rattled doors and windows.

 

The opening “Bell Bottoms” scene from Baby Driver is a perfect example, where the bass notes in the song were thin and indistinct with the Dolby Digital Plus (DD+) on Apple TV and Vudu, and the shotgun blasts had little weight. With TrueHD, the bass was articulated, and the shotgun plumbed far lower and louder.

 

The bass-heavy Blade Runner 2049 also offered multiple scenes that showcased the superiority of the TrueHD soundtrack. The pistol Deckard uses in his fight with K in old Vegas had far more impact, as did the rushing water, thunder, and air vehicles flying at the pump station. The fantastic Benjamin Wallfisch and Hans Zimmer soundtrack also sounded richer, producing notes that were more musical and real, with better tone and decay.

 

Textural sounds also had far more dimension and realism with TrueHD. The first challenge race from Ready Player One was a perfect example, featuring a lot of different vehicles with unique-sounding engines. The multi-layered sounds of the engines, crashes, crunches, and explosions had more detail and separation, being less distinct in the DD+ version. The motorcycle chase in Venom exhibited this same sonic loss in DD+, as with the sounds of the drones flying, or the details of bullets striking. It was similar with the crunching and thrashing from the hippo attack in Jumanji.

 

As mentioned above, the audio levels on Apple TV were significantly lower across every film—often 10 dB or more. This was obvious on everything, but especially noticeable on Gravity, where the opening dialogue chatter between Stone and Houston was virtually inaudible, making it completely unintelligible when played at the same levels as the Vudu and Kaleidescape versions.

 

Even with volume levels raised to compensate, the Apple versions of the films just seemed far more compressed, lacking dynamic range. This was similar to what I experienced on the Taylor Swift Reputation Stadium Tour streamed from Netflix, making me wonder if there is some issue with the way the Apple TV 4K handles Atmos audio. 

 

Now, while the TrueHD mix was definitely better, that doesn’t mean the streamed mix was bad. Just not as good. This was especially noticeable when played back to back, where the TrueHD audio had a wider, airier, more natural presentation. Outdoor scenes like in the jungles of Jumanji just felt more open and like you were in the actual environment, while the DD+ audio felt more centered on the screen.

 

For luxury cinema owners who’ve invested in getting the best experience possible, there are definite, noticeable audio improvements to be had by purchasing content in the lossless format.

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.

Online Movies Audio Face-off, Pt. 1

Online Movies Audio Face-off, Pt. 1

For years, audiophiles have bemoaned the lackluster quality of MP3 audio files, saying they compress the life out of the music. Yet people still buy, stream, and enjoy MP3 (or similarly compressed) music files by the billions, so are they really that bad?

 

The music analogy of lossy, compressed MP3 files versus lossless, high-resolution .WAV (or similar) files is a great starting point for discussing the audio quality of streaming movie services. Without getting too deep into the weeds, streaming sites like Vudu, Netflix, and Apple deliver an audio bitstream using Dolby Digital Plus (DD+) while Blu-ray and UltraHD discs and titles downloaded from the Kaleidescape movie store use Dolby TrueHD. (We could also have a discussion of DTS versus DTS-HD Master or DTS:X, but since no streaming services yet provide or supports these, we’ll table that for later.)

 

A lossy codec like DD+ compresses the original full-resolution file, discarding information the encoder deems the listener won’t miss or wouldn’t have heard to begin with. This significantly reduces the original file size, making it easier to stream. But a lossless format like TrueHD retains all of the original information, resulting in a much larger file, which creates a problem for streaming services but isn’t a factor for a disc or for content downloaded from Kaleidescape.

According to Dolby, “Digital Plus provides up to twice the efficiency of Dolby Digital while adding new features like 7.1-ch audio, support for descriptive video services, and support for Dolby Atmos. Dolby Digital Plus is widely used by streaming and broadcast services to deliver surround sound audio at lower bitrates. 5.1-ch audio in Dolby Digital Plus is typically encoded at bitrates between 192–256 kbps.” (My emphasis.)

 

Dolby also says, “TrueHD is a lossless audio codec used widely on HD and UHD Blu-ray Discs. Dolby TrueHD supports up to 24-bit audio and sampling rates from 44.1 kHz to 192 kHz. Dolby TrueHD supports up to 7.1 audio channels as well as Dolby Atmos immersive audio. As Dolby TrueHD is a lossless audio codec, the data rate is variable. For example, Dolby TrueHD bitrates average around 6,000 kbps for Dolby Atmos at 48 kHz with peak data rates up to a maximum of 18,000 kbps for high sampling rate content.” (Again, emphasis is mine.)

 

So, what does this mean?

Online Movies Audio Face-off, Pt. 1

Well, if you take the highest DD+ encode rate—256 kbps—and compare it to the average for Dolby TrueHD—6,000 kbps—you’ll see that the TrueHD audio stream has more than 23 times more data allocated to it.

 

Fine. But can you actually hear and appreciate the difference? In Part 2, I’ll give you the results of my comparison of the same movies streamed on Vudu and Apple TV and downloaded from Kaleidescape.

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.

Castle Rock

Castle Rock

“There is a lot of history in this town. Not all of it good . . .”

 

You might recall my post “Exclusive Content Causes FOMO & Piracy” (or you might not—in which case, feel free to click that link and then come back to join me here in a bit . . .) where I opined how all of these streaming providers coming up with their own content was really frustrating viewers. One of the shows that inspired that post was Castle Rock, a new Hulu original series that takes place in the Stephen King multiverse.

 

Now, this is a show I really wanted to see when it was announced, as it checked all of my must-see programming boxes. J. J. Abrams involved? Check. Stephen King an executive producer? Check. Set in the Stephen King world with tons of King Easter eggs? Check. A solid cast featuring several actors who’ve previously been in King adaptations? Check.

 

But, as much as I wanted to see Castle Rock, I was not willing to add another streaming subscription to my monthly credit-card statement.

 

Fortunately, you can now experience Castle Rock without a Hulu subscription by purchasing the series on disc (4K UltraHD, Blu-ray, or DVD) or via digital download in HD quality at the Kaleidescape store (which is how I watched).

 

So, before I get into my Castle Rock review, we need a little background . . .

Castle Rock

I am a really big Stephen King fan—or Uncle Stevie, as he likes to call himself. I’ve read all of his books, and seen many of the movies that have been adapted from them. The quality of King movies ranges from the fantastic (Shawshank Redemption, It, Misery, Stand by Me)* to the pretty good (The Green Mile, Thinner, Firestarter) to the abysmal (Cell, Lawnmower Man).

The problem with turning a Stephen King novel into a film is that when you try to compress 800-plus pages into a two-hour runtime, you end up chopping out so much material that the results are often just pale reflections of the original. Or you go the other way, trying to stretch something that worked well as a 10- to 20-page short story into a two-hour feature that just blunders around lost. (Two of King’s best adaptations—Shawshank and Stand by Me—were actually novellas, providing just the right amount of source material.)

 

The recent The Dark Tower film is a perfect example. Tower wasn’t a book but rather a magnum opus made up of seven books totaling nearly 4,000 pages. Trying to condense that much story into a single 95-minute film was an impossible task that only ended up angering and insulting fans.

 

King adaptations tend to work especially well as miniseries, where the source material can be given the room it needs to develop story and characters over multiple hours. Hulu showed they knew how to handle this perfectly with its 2016 eight-episode miniseries 11.22.63, which also happened to be the first pairing of Abrams and King. (Another outstanding example is Mr. Mercedes on DirecTV’s Audience Channel.)

 

Castle Rock is a ten-episode series that takes place in a small, fictional Maine town that will be familiar to King fans. Other King works set there include The Dead Zone, Cujo, The Dark Half, Needful Things, and The Mist. It’s important to stress that while King does get an executive producer credit, he wasn’t involved in crafting this story, or apparently much with the production, and it isn’t based on any of his stories.

 

Rather, Castle Rock is a new tale set in King’s established world and features numerous subtle and overt connections and allusions to previous King works. These include Sheriff Alan Pangborn (Scott Glenn), Diane “Jackie” Torrance (Jane Levy), niece of The Shining’s axe-wielding Jack Torrance, references to a certain rabid dog, events from The Body (which became Stand by Me), the Juniper Hill Psychiatric Hospital, and a certain prison no one wants to visit called Shawshank.

 

The opening episode, “Severance,” does a nice job laying the groundwork for what to expect from the series along with introducing us to several principal characters, including death row lawyer Henry Deaver (Andre Holland), who has his own troubled past connections with Castle Rock. He returns to the town after mysterious prisoner The Kid (Bill Skarsgard), who has apparently been kept locked in solitary confinement in a hidden section of Shawshank for years, utters Deaver’s name and nothing else. And there’s recently retired Shawshank warden Dale Lacy (Terry O’Quinn), who had been keeping The

Kid locked away for reasons known only to himself.

 

The series is slow in parts, but definitely picks up for the final episodes, with Episode 7, “The Queen,” being especially good and featuring a fantastic performance by Sissy Spacek as Ruth Deaver that really deserved some kind of award nomination. Another standout was the gore-filled eighth episode, “Past Perfect,” that actually had my wife scream out.

 

There are some nice King-esque jump

Castle Rock

scares along the way, along with tons of general creepiness as we slowly move towards solving the mystery of who is The Kid and how did he get here, along with the overall question of, “Why is Castle Rock so rotten?”

 

The video is mainly a palette of muted browns, greys, and cool blues, but images are clean and detailed. Even better is the 5.1-channel DTS-HD audio mix, which does a wonderful job of keeping dialogue understandable while still delivering a lot of sonic atmospherics that certainly add to the experience when watched on a surround system.

 

I appreciated the brief “Inside the Episode” rundowns for each episode by the series creators/writers, which offered some explanations and pointed out some of the Easter eggs. The download also includes two new features: “Castle Rock: Blood on the Page” and “Clockwork of Horror.”

 

Be sure to watch a couple of minutes into the credits after the final episode, “Romans,” as you get a nice glimpse into what might be in store for the second season that Hulu has already committed to.

John Sciacca

 

* I’m sure some of you noticed that I didn’t include Stanley Kubrick’s The Shining in this list of fantastic King adaptations. Well, the truth is, while The Shining is indeed a great movie, it veers way away from the original source material, almost to the point of being a completely different work.

Castle Rock

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.

Ep. 3: Dolby Atmos–Yay or Nay?

Episode 3 begins with hosts Michael Gaughn & Dennis Burger and Cineluxe contributor John Sciacca talking about CES highlights before launching into a debate on the pros & cons of Dolby Atmos surround sound. At 10:46, legendary writer/editor Brent Butterworth joins the discussion to stake out his own position on Atmos and to describe some favorite demo scenes. At 27:01, Brent talks about his experiences with luxury home entertainment. And at 33:23 the episode ends with a quick round of thoughts on recent movies that might stand the test of time.

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Bohemian Rhapsody

Bohemian Rhapsody

I feel like Bohemian Rhapsody is one of those films that either really appealed to you or really didn’t register at all. I was born in 1970, so I grew up during a time when Queen’s music was played a fair bit on the radio. But I was only a casual fan, and outside of their Greatest Hits and Greatest Hits II albums, my music collection is Queen-free. I was curious to see the film, though, and learn more about the band, especially since I enjoyed Rami Malek’s performance in the recent Papillion remake.

 

I say this because I went into the movie knowing practically nothing about Queen outside of its hits, and Freddie Mercury’s stage presence, mustache, and wife-beater T-shirts. So my experience and impression of this movie will probably be different from those of someone who was a real fan of the band and familiar with its history. Bohemian Rhapsody follows Queen’s formation and meteoric rise to success, specifically focusing on the life of flamboyant front man Freddie Mercury, culminating in a terrific recreation of the band’s epic Live Aid performance in 1985 and Mercury’s admission to the band that he had contracted AIDS. 

 

A movie focusing on actual people—especially someone with such a bigger-than-life personality as Mercury—rises or falls on the quality and believability of the actors portraying them, and I found Malek’s portrayal of Mercury to be spectacular, capturing his nuances and stage mannerisms as I remember them. This is helped quite a bit by some serious prosthetics to recreate Mercury’s signature overbite (caused by having four additional incisors, according to the film, which may or may not have contributed to his extended vocal range). In some of the early scenes I felt I could see the makeup, but that could have been more a factor of the 4K transfer being a tad too revealing. Is Malek a caricature of the actual Mercury? Maybe, but to my eyes the performance worked perfectly. Also, Gwilym Lee—or rather Gwilym Lee’s impressive wigs—transformed him into a lookalike of guitarist Brian May. (The film also features an almost unrecognizable Mike Myers as EMI executive Ray Foster.)

 

The 2 hour and 14 minute run time zips by, moving from one milestone in the band’s career to the next. This is partly due to its hyper-compressed timelines, taking events that happened over years in some cases and boiling them down to a single scene. I’m not saying Bohemian plays fast and loose with the truth exactly, but it left me feeling like you weren’t getting the whole story and were watching a Cliff Notes version of actual events.

Bohemian Rhapsody

For example, the opening would have you believe Freddie just happened upon a band who’s lead singer suddenly quit and, “Guess what guys? I happen to write songs and sing a bit.” In actuality, Mercury had been writing songs and playing music for years, had been singing for a couple of other bands, and was friends with the band that would eventually become Queen. It also suggests “We Will Rock You” was just thrown together by May when Mercury was a few minutes late for a band meeting. And, contrary to the ending, Mercury wasn’t diagnosed with AIDS until two years after the famous Live Aid concert.

 

Whether it was naivety, ignorance, or the culture of the times, Mercury being gay wasn’t part of his narrative that I remember while growing up. (To be fair, I also remember thinking The Village People were just a cool bunch of guys who liked dressing up in wacky costumes, embodying different characters. Yeah, it was a different time and news travelled a lot slower back in the ‘70s . . . and I was like 10.) The film certainly addresses Freddie’s sexuality, but does so staying outside the bedroom. And like many of the other time-compressed moments, he seemingly goes from a happy, committed, hetero relationship to, “OK, I’m gay now,” following one lingering glance from a trucker outside a men’s room.

 

Mercury seemed to be constantly running away from things—his Zanzibar birthplace, his Parsi background, his family, his name (Farrokh Bulsara), his girlfriend, and ultimately his band—and rushing towards a future and lifestyle that ultimately killed him. I definitely came away from the movie with a far greater appreciation of the talent of both Queen and Mercury. The film’s portrayal of the recording sessions for their first album and “Bohemian Rhapsody” showed an experimentation and creativity that reminded me of Brian Wilson’s efforts with Pet Sounds or The Beatles and George Martin on Sgt. Pepper’s. I finished the film wanting to go to Tidal to experience their catalogue.

 

For a movie focusing on a rock band, it’s crucial the music sound great, and it truly looked like the songs were being played and sung by the actors. I felt Rhapsody scored a definite A here, and apparently they blended Malik’s singing in with Mercury’s (and others) vocals. The live shows sound especially good, with big kick-drum beats that send bass waves into your chest, and the finale at Live Aid is just terrific.

 

One major disappointment is that the Kaleidescape digital download doesn’t include the Dolby Atmos soundtrack, instead having a 5.1-channel DTS-HD mix. For a movie where music plays such a starring role, I’d love to hear how this sounded in a full Atmos mix. Of course, the blame here lies with 20th Century Fox, which for some reason refuses to provide Kaleidescape with the immersive audio mix for any of its films. Here’s hoping that gets resolved at some point in the near future, at which point anyone who has already purchased the film would be able to re-download it with the new audio track at no charge.

 

For me, Bohemian Rhapsody does a great job of packing nearly 20 years of time into a cohesive story, and gets enough of the big stuff right that you can overlook the little factual errors.

 

It is available now for digital download, a full three-weeks before it will be released on physical media.

John Sciacca

Bohemian Rhapsody

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.

Basic Choices: Projector or TV? Pt. 2

Basic Choices: Projector or TV? Pt. 2

In Part One of this post, I detailed the various pros and cons associated with going with a front projector and screen as the video display in your media room/theater. Here, we’ll dissect direct-view TVs to help you determine whether they’re the right technology choice for your room.

 

Pros

 

A Complete Solution
Unlike a projector, which is just a display device requiring amplification, speakers, and sources in order to perform, a direct-view TV can function entirely on its own. It has a built-in ATSC tuner for cable or off-air tuning, Wi-Fi access to the Internet or streaming Ultra HD content like Netflix, Amazon, and Hulu, and speakers to deliver audio. (Granted, the

speakers on most TVs are abysmal, and any luxury cinema would include a separate surround audio system.) But, for those wanting the simplest option, a direct-view TV might be the right call.

 

Better Performance at Smaller Screen Sizes
Sometimes bigger isn’t better, and a 65-, 75-, or 85-inch direct-view screen might be the perfect size for your room. While you could get a projection screen that small, the performance tradeoffs of going with a projector versus a direct-view set just wouldn’t make sense. If you’re looking for a screen size under 100 inches, direct-view is probably the right call.

 

Flagship Performance at an Affordable Price
Projectors in the luxury market can easily cost $30,000 to $100,000. But a truly state-of-the-art direct-view LED or OLED set can be had for a fraction of that.

 

Easier to Install
Since the electronics in many entertainment spaces are located right below where the TV will be installed, with power nearby, installation is straightforward. But since projectors are typically ceiling mounted on the other side of the room, they can be far more difficult to get power and wire to in a retrofit situation. Obviously, if you’re building or remodeling a room, this will be less of a factor. 

 

Unaffected by Ambient Light
While even a single lightbulb can wash out a projector’s image, direct-view sets can happily exist in rooms with virtually any amount of light. If it isn’t practical to fully darken your space at all times of day, or you prefer doing your movie/TV watching or gaming with some lights on, direct-view sets will give you a lot more flexibility. Granted, TVs can have issues with reflections, but these are often far easier to address than too much light on a projection screen.

 

Can Accommodate HDR/Dolby Vision
To bear the Ultra HD Alliance’s “Premium” logo, a TV’s HDR (high dynamic range) technology must be able to simultaneously produce both exceedingly deep blacks and bright whites. While many new projectors can display HDR content, they offer only a fraction of the performance that direct-view TVs can achieve. And no current home projector can handle the increasingly popular Dolby Vision HDR standard, which uses metadata to adjust the dynamic range settings of a movie scene by scene. While projectors continue to get better at handling HDR content, they’ll likely always lag behind direct-view sets, which can produce a far brighter and punchier image.

 

Can Produce 32 Million Pixels
As ridiculous as it sounds—especially since many people are just now considering the move to 4K sets—8K was the video talk of the recent CES. Never mind that most broadcast content providers still can’t even deliver 1080p, let alone any quantity of 4K content, and that there’s no solution even in the pipeline to 

actually deliver an 8K image. Put all that aside. 8K is not only coming, it’s here, with Samsung models already available. Now, I’ll be honest—the 85-inch 8K Samsung TV I saw at this past CEDIA was nothing short of flat-out stunning. Whether that was due to the oodles of extra pixels on screen, or the fantastic video processing and 4,000 nits of brightness, I can’t say. But the likely scenario is the next generation of flagship direct-view TVs will be 8K (7680 x 4320), and early indications are they will produce spectacular images from native-4K content.

Basic Choices: Projector or TV? Pt. 2

Direct-view TVs perform much better than front-projection systems in brightly lit rooms

Cons

 

More Expensive for Larger Screens
While an 85-inch screen size is nothing to sneeze at, if you want to go larger than that, it could cost you. A lot. While you can get a 85-inch set for under $5,000 (or snag the 8K Samsung mentioned above for under $15,000), prices go up exponentially above that size. For example, while the flagship Sony 75-inch Z9F set costs around $6,000, the 100-inch Z9D will run you $60,000! LG unveiled the world’s largest OLED TV at 88 inches during this past CES with no price announced yet, but expect it to be . . . high. And if you think Samsung’s 219-inch modular-design The Wall is right for you, plan on spending well over six figures when it actually becomes available for order.

 

Room Dominating
We’re a luxury website, so perhaps the prospect of dropping a ton of cash on a flagship direct-view set isn’t a deal killer. I mean, Ferrari is selling $300,000 488 GTBs faster than it can produce them, so clearly the luxury buyer is alive, well, and spending. But, one thing you’ll have a tough time doing with your massive direct-view set is hiding it or decorating around it.

 

Hinders Speaker Placement
The ideal speaker layout places the front left, center, and right speakers on the same horizontal plane as the center of the screen image, ensuring that sounds perfectly track the on-screen action. With an acoustically transparent projection screen, this isn’t a problem, but with a massive direct-view set, placing the center channel speaker becomes more problematic. Generally, the solution is to install it below the screen, and while this often does an OK job of marrying the dialogue to the screen, results can vary depending on how large your TV is, how low the speaker is installed, and how far the seats are from the screen.

 

Poor Off-angle Viewing
LED TVs can exhibit a real shift in image brightness and picture quality as you move off-center. If your media room is wide, with seats at extreme angles from the screen, those seats may have a compromised experience. Also, glare and reflections can become an issue when sitting well off-center.

 

Since choosing the right display technology is one of the biggest decisions you’ll make when creating a media or theater room, being armed with all the information necessary to choose—along with finding a competent installer—will definitely help your system turn out to be the best it can!

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.

Basic Choices: Projector or TV? Pt. 1

Should You Get a Projector or TV? Pt. 1

When determining the look and design of your new media room or home theater, you’re quickly going to be confronted with a major decision: The size and style of your video display. While the choice ultimately boils down to whether you’ll go with a front projector or a traditional direct-view TV, the number of factors that can go into making that decision can sometimes make it difficult. But you might find it easy to choose if one factor quickly sways your decision, since each technology has definite advantages.

In Part One, I’ll discuss the pros and cons of having a separate projector and screen. In Part Two, I’ll do the same for direct-view TVs.

 

Pros

 

No Limit on Screen Size

While TV screens are measured in inches, projection screens come in feet, and you can get a screen literally as big as your wall can support, meaning you can have a truly cinematic experience in your home. And while people might debate whether they can or can’t see the resolution improvements of 4K on their 65-inch TVs, you’ll be basking in all of the noticeably sharper detail on your 200-inch screen!

 

Less Expensive to Have Bigger Screens

Dollar per inch, it’s tough to beat front projection. Where the price jump from a 75-inch to a 100-inch direct-view set is exponential, it might only be a few hundred dollars more to go from a 110- to a 120-inch screen.

 

Supports Multiple Aspect Ratios

People primarily talk about two different aspect ratios: 16:9 (the rectangular shape of modern HDTVs) and 2.35:1 (the wider shape of many films). But in reality, modern filmmakers often use various aspects to capture a specific look or feel. More and more original content on Netflix and Amazon uses aspect ratios other than 16:9. With a projection screen and a masking system, you can make sure you’re always seeing the image as the director intended, with no distracting black bars.

Optimal Speaker Placement

The ideal speaker layout places the front left, center, and right speakers on the same horizontal plane as the center of the screen, ensuring that the sound exactly tracks the on-screen action. These speakers can be perfectly placed behind an acoustically transparent projection screen, just like in a movie theater.

 

Can Disappear When Not in Use

If you want a movie theater but don’t want your room to look like a movie theater, a front-projection system offers several solutions. Even the largest screens can be motorized to roll up and out of sight, and a projector can be concealed as well, with just a glass porthole in a wall or soffit for the lens to fire through.

 

Still Supports 3D

Direct-view display manufacturers have all abandoned support for 3D over the past few years, but nearly all projectors designed for home use still have this capability.

 

Offers Many Screen Material Options

When you buy a direct-view TV, you get what you get, but when you buy a projection screen, you have a myriad of options. Your installer can help you select the right material, color, and gain to make sure you get the most out of your projector, room, and screen size.

Should You Get a Projector or TV? Pt. 1

Stewart Filmscreen’s Gemini has separate screens for daytime & nighttime viewing

Cons

 

Needs a Dark Room

A projector can’t actually reproduce black, so it projects nothing where black should be. That means, to have black up on screen, the room needs to be black—or at least dark. Since projectors rely on dark rooms to produce their best image quality, that might not be your best choice if there’s any amount of light in your space. Sure, ambient-light-rejecting screens like Screen Innovations’ Black Diamond or Stewart Filmscreen’s Phantom HALR do an admirable job of producing viewable images in lit rooms, but they can’t deliver the same picture quality as viewing in a darkened room.

 

Not Always Good for Gaming
Using a projector can be a con, depending on the types of games you like to play. Many projectors have an input delay of up to several seconds, which means there can be a noticeable lag between when you press a button and something happens on the screen. While this isn’t an issue when pausing a movie, it definitely can be when playing a videogame where milliseconds of reaction time can be the difference between onscreen life and death. Also, if you play games that require standing in front of the screen, you might find yourself blocking the projector’s light path and creating life-sized shadow puppets instead.

 

HDR and Brightness Inferior to TVs

HDR (high dynamic range) can deliver both deep, detailed blacks and ultra-bright colors, but projectors can only deliver a fraction of the necessary brightness levels. This makes HDR on a projection system tricky, with manufacturers searching for the best solution to tone map the high-brightness images for their projectors. Also, outside of a custom, dual Christie Dolby Cinema projection setup, you currently won’t find any projector that can support dynamic HDR metadata like DolbyVision. That isn’t to say projectors can’t pull off HDR, and some of the new laser-based models look pretty spectacular. But direct-view sets will likely always be superior in this regard, able to produce images with more punch and contrast.

 

Lack of 8K Support

I hate to even mention this, but 8K is now apparently a thing, so here we are. Yet no projector manufacturers seem to be seriously pursuing 8K resolution. This is especially surprising since if there was any technology that could benefit from 8K, it would be a massive front-projection screen. (But I digress . . .) I’ve only seen one projector that can deliver 8K resolution, and it was nearly the size of a small car, required its own ventilation system, and cost a wallet-blistering $400,000! (JVC will be launching a native 4K projector that uses the company’s eShift pixel-shifting technology to deliver a pseudo-8K image at a far more reasonable sub-$20,000.)

 

In my next post, I’ll break down the pros and cons of going with a traditional, direct-view TV set for your entertainment room’s display.

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.

Hunter Killer

Hunter Killer

Don’t feel bad if you have never heard of Hunter Killer. It went in and out of theaters nearly as quickly as the first explosions occur in the film. HK belongs to that increasing group of films that have a huge divide between critics and moviegoers, with the film generally panned by critics with a 37% approval rating and average score of 4.7/10, but with CinemaScore audiences giving it a far more generous average grade of A-.

 

I originally stumbled across HK while scrolling through the trailers of upcoming films on my Apple TV, and I was sold. I’m a nut for submarine movies—Das Boot, Hunt for Red October, U-571, Crimson Tide . . . I’ve seen ‘em all. It’s been far too long since we’ve had a good sub film, and none showcasing the latest technologies of the newest real-world boats, and the trailer for HK was action packed. So, when HK arrived on the Kaleidescape Movie Store in 4K HDR with a Dolby Atmos soundtrack a full two weeks before being available on disc, it was a no-brainer for me.

 

There are essentially two types of submarines in the modern Navy, often referred to as Boomers and Hunter Killers. Boomers—technically Ohio-class ballistic- and guided-missile submarines—lurk around the world’s oceans as silently as possible, lying in wait and ready to unleash a maelstrom of ballistic missiles on an unsuspecting enemy should the launch order come. (That was the USS Alabama in Crimson Tide.) Hunter Killers—Virginia-class fast-attack submarines, of which there are currently 16 in active service—spend their time looking for and then tracking enemy subs and other ships, constantly prepared to destroy them before they can launch their payload should war break out.

Hunter Killer

Hunter Killer follows the USS Arkansas, a Virginia-class attack submarine, and its crew captained by the very non-traditional and unorthodox (“He didn’t go to Annapolis”) newly appointed captain, Joe Glass (Gerard Butler), as they sail off to investigate the disappearance of a US submarine feared lost in the Arctic. Concurrently, a four-man team of Navy SEALs infiltrates a Russian naval base and discovers a coup underway. After witnessing the Russian President taken prisoner and seeing the defense minister’s moves to goad the US into war, the SEALs are tasked with the mission of “rescuing” the Russian President and whisking him away to safety. These two plotlines ultimately converge in the film’s climax. In between is lots of gunfire, rocket launches, and sub-on-sub torpedo action.

 

The picture quality is pretty terrific, with loads of detail, especially in the brightly lit outdoor scenes. HDR is used to good effect in the dimly lit submarine, with its myriad of screens and displays. My one nit is that the 4K transfer is so good that some of the underwater sub-chase scenes ended up looking fake.

Hunter Killer

The interior sets of the USS Arkansas, however, look amazingly real and authentic. Apparently, the US Navy was involved with the film’s production and design team in developing the look of the sub, and it really shows. Every scene inside the sub looks and feels real, which goes a long way towards giving a sub movie credibility. Butler also spent several days aboard an actual Virginia-class sub while underway to get a feel for daily submarine life and operations.

Sonically, the Atmos mix does exactly what it should, and sounds mostly fantastic in a home theater. From the opening scenes, you are plunged underwater with sounds of the ocean rolling and bubbling overhead. The Arkansas is also filled with tons of little ambient sounds that place you right in the midst of the boat. There is plenty of low-frequency info to give your subwoofer a workout, specifically the deep, steady thrum of the sub’s turbine. Dialogue is mostly intelligible, but there were several scenes where it was buried in the midst of background sounds, making it difficult to understand.

 

Is HK a good movie? Meh. Let’s just say I doubt “cerebral” would be anyone’s adjective of choice to describe it. It also has its share of head-scratching moments, as well as scenes that stretch your suspension of disbelief (submarines don’t follow other boats just feet off the stern, or race around the ocean floor, zig-zagging through impossibly narrow channels with the agility of a Ferrari navigating Nurburgring). And Butler seems hellbent on being angry, defying all established protocol, and arguing with his XO in nearly every scene.

 

A far better question is, “Is HK an entertaining movie?” and if you’re a fan of the action or military genre, the answer is a definite yes. A good metric might be whether or not you enjoyed Gerard Butler in Olympus Has Fallen or its sequel, London Has Fallen, as Hunter Killer is similar in pacing and style but (obviously) set on a sub. The movie’s two-plus-hour run time zips by, and there is constantly something happening to keep you engaged and entertained. If you’re looking for a movie where you can sit back and just enjoy the action unfolding onscreen and the dynamic Atmos audio mix, HK is the perfect Friday-night popcorn flick.

John Sciacca

Hunter Killer

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.