![]() Some of the argument out of the “who’s best” discussion. Our decisions relative to perforated screens and perhaps in the process take In our realm of replicating the cinemaĮxperience we can look to a more profound group of metrics with which to make ![]() The PC versus MAC conflict and the Ford versus Chevy versus Dodge battles It seems that we thrive on the “who is best” arguments in all walks of life. We therefore dedicate this to the people who spent countless hours humoring us in totally dark rooms, variable ambient light conditions, and testing every screen type and speaker configuration “known to man” in the pursuit of the truth. It became clear that we needed a scientific approach and metrics providing data and backup for our findings. ![]() The following white paper evolved into a full research project incorporating some of the best audio and video minds in the industry to help us separate marketing hype from scientific evaluation and fact. In doing research for the white paper there was little information on the topic and even less of a scientific nature. Hear in the home cinema experience relative to perforated screens, blossomed into a project with a life of its own. What we thought would be a “simple” examination of what we see and what we This path takes us to the topic of the perforated screens similar to what is used in cinemas around the world. In this regard let us once again take the highest road and the true cinema experience as our guide. Those of you thinking ahead will know that this is only half the story and of course we are speaking of the projection screen to complete the picture. We now await the letters telling us it ain’t so, but save your breath because it is finally true! The bottom line is that the best of the best in each area will replicate the quality of 35mm color film. ![]() We can open up Pandora’s Box relative to which display technology is “best” at another time but from my perspective there are excellent projectors out there using LCD, DLP, and LCoS as the imaging source. For this reason, we want to examine the highest rung on the ladder and look at front projectors and front screens that truly put the viewer in the proper perspective. The “problem” with all of these displays is that they are not big enough to engulf the viewer and replicate the true cinema experience that many feel is the be all and end all of the quest. If we talk about image quality in home theaters, we cannot ignore flat panel displays with advanced plasmas up to 71”, LCDs with their faster panels up to 65”, and we might as well throw in LCD, DLP and LCoS thin profile retro displays in the >80” range to round out the group. It appears that those of us who are manufacturers, integrators, consultants, and end users that attend the annual CEDIA Trade Show are the next best hope for seeking out the “perfect picture” that is our holy grail. This is the bastion of Joe Kane’s Digital Video Essentials, Ray Soneira’s Display Mate, and the omni present THX stamp of approval. If the pursuit of digital cinema drove the focus on picture quality over the last decade, today the home cinema industry has picked up the charge and is some notable cases goes beyond the scope of the original mandate. They opened my eyes to the level of detail we need to approach the look and feel of the 35mm film experience. My “graduate studies” in the pursuit of perfection on screen, was working on the first experiments in digital cinema with Paramount, Miramax, Lucas Films and Stewart Filmscreen. I suppose I must plead guilty to the charge after years of teaching the Advanced Display Technology courses at Infocomm and working with display companies like Hughes-JVC, Runco, Samsung, Barco, and Brillian Technologies each of whom advanced the art of the “perfect picture” in their unique way. Defining the Difference in Perforated Screensįor nearly a quarter of a century I have been labeled as a “display guy” in the professional and home theater audio visual industries.
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