@@mattjohns3526 sorry Matt unfortunately we are busy and short staffed :(

That's is extremely small for immersion. You want at least 40° for 16:9: and 50 for scope

Ok Joe Kane is not from ISF. Joel Silver is. Second of all CRT displays are calibrated to REC709 which is still the standard today for SD and a standard many if not most studios still use. and is the foundation for calibration you see at most cinemas. Would you care to explain your comment in more detail?

@@HomeTheatreEngineering Um you must have been a kid when Joe Kane produced the first reference disc in the industry A Video Standard followed by the Digital Video Essentials (DVE). The same material you got your gray scale gradients and color bars. He resigned from the Image Science Foundation (ISF) in 1999. For all I know there could have been a dispute between the Joel and Joe. My biggest issue with ISF calibration over the last 2 decades is that the projectors and CRT(s) were just too dim for the reference gray scale "director" intent now called filmmaker mode. I actually think the new Sony 2024 XR 4K NITs Mini LED the ISF dialed back calibration might work for the first time. It just did not look good with the Sony Bravia 4k 900 class from 2016 to 2023. I just think people crave the Samsung pop even if it is the furthest thing from the directors intent and I get that. Sony 4 to 5 K NITs Mini LED could be a game changer and usher back in the ISF calibrator into our living rooms again.

@@chebrubinI am a bit baffled about your comments. So I am 62 and know of Joe Kane very well and have discussed several issues with him over the years and have used his DVE tools a great deal. I have been a full time calibrator for well over 20 years now and have not seen a drop off in work in act the opposite. I am not sure you can say "your main problem with ISF is the low light output of CRT or (older) projectors. That's not exactly their fault and again REC709 which as mentioned is still the foundation today worked perfectly well on these. I also disagree with your comments on TV's and have successfully calibrated multiple modes at varying luminance levels to suit the ambient light for clients. Reference greyscale has not changed, and this is not the nuts and bolts of filmmaker mode (which in SDR recommends a max NIT level of 100 - twice that of a commercial cinema btw) it still uses REC709 for SDR. Filmaker mode is more focussed on frame rate aspect ratio (turning of motion smoothing) but yes is does impact max light output/contrast as well and ideally should be viewed in a dark room. I have successfully calibrated many flat panels at levels less than this to comply with REC709 and would match the light output of a CRT which were capable of 14.7 Ft lamberts plus... In dark room with good content they could look amazing. Maybe I am misunderstanding what you are trying to say but overall, I have found most displays can be calibrated to produced great REC709 images. HDR is a different ballgame, but the high light output capability does not mean that images are always brighter. This was developed to introduce specular highlights and to increase dynamic range, but much content can look "duller: than REC709 but just with more detail due to that dynamic range (game of thrones notorious last episode springs to mind). Anyhow I am not sure this is the best forum for long winded debates, but I am glad that you are commenting, it would be great to meet and chat about this more in detail someday so I can better understand.

@@HomeTheatreEngineering Thank you for sharing with me. I just think in the era of the HDR video game and peoples perceptual and cognitive mindset people want that HDR pop and many times we walk away from a REC709 ISF standard calibration feeling the Sony just does not look as bright or colorful as it did with the out of the box settings. Scary but true I think we are addicted to that HDR pop now.

Glad it was helpful!

While there is a lot I don’t like about HDMI as a business, we have less and less issues with it each year and we mostly now just plug it in and it works.. neat and tidy way to get high res audio and video and gives us the results we want.

Seriously! A heap of technical information and that is your only comment? But as you asked, he is the CEO of Wisdom, a really nice and extremely intelligent man for whom I have massive respect.

All of our room designs consider THX SMPTE standards. This drives many of the initial seating position decisions. The room is developed from there. This video was not intended to cover that discussion but to confront those customers who say to us… I want the biggest screen I can get! A simple question which are trying to address in simple terms. I totally agree with everything you say.

@@HomeTheatreEngineering Roger that. No foul. Good on you, though, for a thorough approach!

Yes absolutely there is. At maximum zoom a few things change. Most of all the quality of the image. Lenses work best at mid focus which is what we consider in our room designs. This is not always possible but in those circumstances we discuss and clarify with our clients the pitfalls of the situation.

@user-hl6gz6zo2i Ok first of all the insults aren't needed but since you went there...are you are kidding and where did you get your facts from? Chromatic aberration and focus deteriorates on most lenses at the edges at least at maximum zoom, the same applies to most lenses just ask any photographer and I can measure and identify this during calibration it also affects luminance (brightness) and if you think the LS12000 is "decent lens" then I am guessing you have never investigated lens quality nor performed one on one comparisons with high quality lenses like Barco Christie and Sony. You are basing your statement on what exactly?

Thank you. In dedicated cinemas we never use tower speakers for a lot of reasons that have been explained in previous videos. But in a living space this may not apply as it may not in your case. Once again this is the reason we do room designs for all kinds of rooms we put systems in to ensure the best outcome