HTE team talks about the USA, Canada and CEDIA 2023 afterthoughts.

[@thomascochran3641]

I was at CEDIA and I agree with your evaluation of the event. It appeared to be "over the top" for most of us. I have rarely felt that way at previous CEDIA events. This is not a criticism, but feedback from my perspective. There were many excellent seminars from highly qualified individuals and that is what I truly benefited from. BTW, I do have a high end system (Trinnov, etc), but I did feel like I was told "you still need more"! I do like the format. Thanks, guys.

[@HomeTheatreEngineering]

Hi Thomas Thanks so much for the feedback

[@HomeTheatreEngineering]

Hi Thomas Thanks so much for the feedback

[@cannibalsoup]

I liked the format. Please keep it coming!

[@HomeTheatreEngineering]

Will do. Hope to have a really good one coming up soon

[@gregheard6024]

The vetting is absolutely critical. The question for the customer is understanding what questions to ask and how to identify for keen, accurate and consistent answers. Too often, as a customer, we are left to word of mouth, referrals, and assumptions on average.

[@HomeTheatreEngineering]

Agreed

[@JohnWickFour]

Thanks gents. 👍

[@HomeTheatreEngineering]

Our pleasure!

[@matta9316]

Please do a vid on the new Ava remote. Would love your evaluation and feedback on the product.

[@mojojojo_BB]

I want to comment about the the infrasonic discussion, i.e.: is that how the movie is supposed to be watched. With a MadVR, you can do auto aspect ratio + NLS and it's a great thing to have as Andrew confirmed in his video of it a year ago. BUT the movie used in that video, Interstellar is MEANT to be watched going from 16:9 to scope, that's the director's intent yet it's clear Andrew likes the MadVR's ability to maintain the scope ratio (as do I). Having that infrasonic there simply adds to the experience be it the intent or not; although to be honest I don't understand why they would place the infrasonic in the movie if it's not intended to be there.

[@HomeTheatreEngineering]

Hi so a few things. I prefer to watch a movie as the director intended. The question is with so many versions what is that intent? What I don't like is constant jumping rapidly as happens in Interstellar. In fact it jumps from Imax to scope with scope being the smaller format but that doesn't work on a scope screen. The issue with Hollywood is consistency. They know we have 16:9 TV and either mostly 16:9 or scope screens but they still treat us as if we actually have full Imax. Anyhow I find rapid aspect switching distracting. Re Infrasonic I literally have a call booked with a Hollywood Supervising sound editor tomorrow morning to discuss just that. One way to think of it maybe like video signals. This is hotly debated to but technically there is no intended image signal above 235 signal level just many want to run to 255 because they can find detail there. Its not intended and it's not considered as part of the production but some people say hey if its there I want to see it. Infrasonic could be similar. I am personally not a fan but always open to discussion. Our room does not have any audio below 20Hz but it shakes my pants vibrates the seats and people think we have seat shakers in there.

[@bartl006]

Any information or impressions of crystal black technology with screen innovations? Apparently nanotech that works with RGB laser projectors

[@HomeTheatreEngineering]

I am working on a discussion with SI will keep you posted

[@bartl006]

In my opinion RP22 will never become widespread because sound isolation is very difficult to execute properly, expensive, and most average end users can't be convinced of its value (even though lowering your noise floor by 10dB is equivalent to buying speakers with 10dB greater output capability)

[@HomeTheatreEngineering]

Have you read RP 22 its varying levels caters for cinemas at different capabilities.

[@bartl006]

Yes, (although not in it's entirety as it's quite lengthy) for a reasonable size home theater, level 4 is unobtainium... would cost 7 figures minimum if you really understand what's involved in that level of sound isolation and SPL capability, separate projection room, HVAC noise isolation, cost to design, build, equip, install, calibrate, test etc. That's not my opinion, that's the opinion of an industry insider with more knowledge than me. Level 2 and 3 are more achievable but still quite expensive to implement. If your goal as an integrator is to sell level 1,2,3,4 rooms as your deliverable with test reports providing proof that that all 21 performance goals have been achieved, I believe you'll find that you're really just selling level 1 and 2 rooms over and over again unless your client really has cash to burn and a blank slate to work from. Even the test equipment that is capable of accurately measuring an 15-18dB noise floor is quite expensive.

[@HomeTheatreEngineering]

@@bartl006 I cannot disagree. Not everyone is going to want or afford level 4 and yes level 1 or 2 are going to be the most common targets and I don't agree with everything in RP22. One also needs to understand the intent of RP22 I had long debates over the measurement of RP22 which at the moment has not been mentioned. This is coming in an another recommended practice. The aim of RP 22 is to at least shine a spotlight on what must be considered in a room design. It is a guide and a goal (hence RP -Recommended Practice). It does not in and of itself say every room built to RP22 "has to meet that criteria". I think in essence you are right which is why I had long debates about this with several high level folk at CEDIA. I was originally against it and they helped me understand what they were striving for. I am hoping to have interviews with some of these key people soon. Thanks for commenting.

[@bartl006]

Look forward to it. Yes, RP32 will hopefully further clarify how to validate these stated criteria, but to be honest I don't know that it will matter all that much with the cost prohibitive nature of level 3 and 4 rooms. Great channel!