To allow the Aussiemorphic Lens MK4 to be moved in and out of the lightpath with ease, a new Projector Station is under development. The new Projector Station is an all alloy unit to match the MK4 lens.

The new Projector Station will be IR controlled.

To inquire about this product, email me HERE
[cavx01@hotmail.com]


Mark

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CAVX Aussiemorphic Lens MK4

After some 18 months of research and development, the Aussiemorphic Lens MK4 is finally a reality. The MK4 is a 2 lens [4 element] cylindrical anamorphic lens with 1.33x horizontal expansion. The MK4 features continuously adjustable astigmatism correction to compliment the excellent CA correction. The case is precision machined black anodized aluminium.

CAVX Test Pattern

I've created this pattern is for checking and adjusting the astigmatism correction of the MK4. The pattern is a matrix of 1920 x 1080 pixels, however the upload here has reduced it to 1600 x 900 pixels, so to obtain a true 1920 x 1080 version, please email me using the link below. The pattern also features 7 focus points [and 3 geometry check points] each made of single display pixel lines. When the astigmatism correction is adjusted correctly, both the horizontal and vertical lines will be in focus at the same time.

A little history:

2005 research on HT anamorphic lenses begins.
2006 MK1 [first basic 2 prism lens using optic glass]
2007 MK2 [basic 2 prism lens upgraded to feature optic coatings]
2008 Research on cylindrical anamorphic lenses begins.
2009 MK3 [2 prism/4 elements with CA Correction and improved optic coatings]
2009 MK4 [New 4 Element Cylindrical design]

To inquire about this product, email me HERE
[cavx01@hotmail.com]

Mark

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Screen Australia

I enjoy the cinema as well as my home theatre, therefore the purpose of this page is to have a look at the inside of the projection booth [bio box] where the film is actually projected from. I would like to thank the staff at Screen Australia for allowing me to capture these images and explain some of the technology to me.

The Projector

This is a BAUR B14, 35mm film projector. 35mm film runs at 24 frames per second or about 472mm of film per second. Each frame has 4 perfs [sprocket holes that pull the film through the projector]. Given that there is 60 seconds in a minute and an average film runs for 2 hours, an average film has over 3.2KM of film for that 2 hour movie.

The SOUND Head

The Sound Head Reader

This is the device that reads the data off the film strip. This system is Dolby Digital which stores the data between the sprocket holes on the Dolby SR [analogue or pro logic] sound track. Should the Dolby Digital track fail [damaged film stock etc], the sound system defaults to the SR track as a back up. The DTS system uses 2 CD ROM followers and a SMPTE time code [on the film strip] to sync the sound to the picture.

The Dolby Processor

Just like in the home, the cinema processor decodes the data stream and converts it to the 5.1 channels of sound. This device also controls the master volume for playback. In a real cinema, the master volume is set to 7.0 which is the 00dB reference level or 85dB per channel. Cinema systems are calibrated to +85dB using -20dBFS tones. In Home Theatre we use +75dB using -30dBFS tones. In the end, both systems play back at 105dB per channel.

Another key difference between cinema playback and home or consumer playback is the level of the surrounds. In the cinema, the screen channel LCRs are calibrated to +85dB and the sum of the surrounds is also +85dB or +82dB per side.

This is considered too hard for the home, so studios make this 3dB reduction in the film soundtrack itself, so we simply use +75dB [using -30dBFS tones] for all channels. The end result is that the film soundtrack can now be played at the same levels at home and will sound identical to the cinema version of the film.

The Anamorphic Lens

This is an ISCO 2x horizontal expansion anamorphic lens. All CinemaScope films require a lens like this one to restore the geometry of the image on screen. For those of us going Scope at home, a 1.33x stretch lens is required.

Mark

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A Room In A Room

I am finally embarking on the challenge of creating what I refer to as a "room in a room". As I rent, I can't modify the room that my HT is housed in, so a custom built free standing system is in order. I am taking it a step further this time with the concept that the stands need 'weight' in order to prevent them falling over, and using the layout designed by THX for their Ultra 2 system, each stand will have a built-in Sub-woofer.

There is essentially five parts:

1. The Screen.

The AT screen shall house the three LCRs. I had decided to redesign the screen stand to make it lighter and easier to move however I am very attached to the Curved AT Screen, so will continue to use it for some time.

2. The Speakers: LCR SUB and SUR.

The Laser Cut Baffles

The first run of the new CAVX Speakers. The LCR [right] and the SUR [left]. All the baffles are laser cut to ensure perfect duplication for each set I make.

3. The Surrounds.

The Left and Right Surrounds located at the sides of the listening position shall be Dipole as specified in a THX audio system. Again, Sub-woofers on each side stand will provide the weight needed to keep them from falling over. I am making these surrounds as a right angled triangle [in plan] so the angled front baffle will be the 'in-phase' lobe. A mirrored pair will ensure correct left and right assignment and the speakers will be permanently attached rather than using the rail system my current system uses.

4. The Back Surrounds

After much deliberation [or is that procrastination?], I've decided to go with my original design idea of a pair of Diffuse Radiating Back Surrounds. Even though the THX site shows close positioned Back Surrounds, they also have a link to 'spaced' back Surrounds for 7.1 program.

5. The EQ Rack.

The completed EQ Rack

EQ Rack is located at the back of the room and also houses the projector which will use the new Projector Station and Aussiemorphic Lens MK3.

The Rear 'Wall'

This how the back of the room looks now. I decided to invert the top shelf oif the EQ Rack which is why I now have a shelf. Yes I know I need diffusion and some absorption on this wall, and that is coming, however I now have a port hole to project through which is something I have always wanted. The rear panel covers the EQ Rack as well as provides a mounting point for the Back Surrounds. They just need to be raised now. And yes, that is the MK4 prototype.

Mark

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...Pimp Your Projector

The Aussiemorphic Lens MK3 debuted at CEDIA 09 in Sydney [15/07 - 17/07] at the JVC stand. Their JVC HD350 [RS10] was used along with the MK3 and new Projector Station projecting onto a 120" [dia] Oz Theatre Screen's Majestic 2.37:1 Scope screen using EVO3D.

Me standing out side the JVC display

The Aussiemorphic Lens MK3 on the new Projector Station with the JVC HD350.

I would like to thank JVC for allowing me to display the MK3 lens at both CEDIA and SMPTE.

Mark

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Noise Canceling Headphones

During a recent plane flight, I got to experience the joy of Noise Cancelling Headphones. They work using level matched phase inversion of sound which cancels out any exterior noises. They feature two small microphones [one on the side of each ear piece] and measure the external sound levels. By playing the sound back into the head set at the same level [now phase inverted], the noise is cancelled out. Just brilliant!

Other brands like Sennheiser also now produce noise cancelling head phones as well.

Mark

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The Shape Of Things To Come

If history is to repeat itself, then this TV might just be a clue to the future of home entertainment. Back in the early 1990's, Phillips released a 1.78:1 TV in a time when all other TVs were 1.33:1. At the time there was no programing to support the new wider screens, but in a short time, HDTV and DVD became standards that allowed the user to benefit from the wider displays.

The LCD TV shown above is the new Phillips display known as Cinema 21:9. A Standard HDTV uses a pixel array of 1920 x 1080. This new type of ultra wide display uses a pixel array of 2560 x 1080. What this means is that new programing in the form of packaged media will be released to allow a true 1:1 pixel mapping. So what does this mean for 16:9 displays?

In keeping with the idea of "backward compatibility", new source formats will have a 16:9 feature as well as the new 21:9 option. The 16:9 option would reformat the material back to the same standards we have now for our 16:9 displays where a film in Scope would once again be presented as a letter boxed image. However, at full resolution, the image would contain 2560 x 1080 Vs the current 1920 x 810 letter boxed image where the remaining 270 lines make up the black bars [top and bottom] we have now. The ultimate system would allow us to have 1080 vertical resolution for all programs.

So what about projectors and CIH? Well this might just be exactly what we have been waiting for. If the new 21:9 player is set to 21:9, the image should be a matrix of 1920 x 1080 with the geometry appearing to be horizontally squeezed. This means that we do not have to "scale" the image for CIH as it will be done at the source level. Whilst we won't get to use the full 2560 pixels width, we will have 1:1 pixel mapping for our 1920 x 1080 panels. This means that our images will be true anamorphic and anamorphic lenses will be needed if full rez of the new formats are to be used on 16:9 projectors.

The future is looking promisingly w i d e ...

Mark

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CAVX Projector Station

UPDATE: The CAVX Projector Station is finalized and shipping now.

Due to popular demand, the CAVX Projector Station is once again available to all that purchase an Aussiemorphic Lens MK3. The Projector Station is laser cut afrom 10mm Perspex [to match the MK3 lens] and features holes needed for the mounting of many popular 1080 projectors, cable management and allows for precise threaded adjustment to ensure that your projector is 100% level.

The Projector Station was shown showcased at CEDIA 09 [Sydney] with the JVC HD350 and Aussiemorphic Lens MK3.

Compatible Projectors:
BenQ W5000, W20000
Epson TW3000, TW4000, TW5000
JVC HD350, HD750
Mitsubishi HC7000
Optima HD81, HD803, HD8000, HD8200
Sanyo Z700, Z3000
SONY WV10, WV40, WV60, WV80
[note: not all projectors above scale for CIH]

Projector Station RRP: $499.00AUD

Available in Black or White

Mark

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DVDO Edge - Affordable Scaling for CIH

With CIH progressively becoming more mainstream, the need to control the Aspect Ratio from one central video processing device that not only enhances the picture, but offers flexibility needed for CIH has become required. The DVDO Edge is not only functional, it is now very affordable with an RRP of just $999.00.

With enough video inputs to process all of your video needs, the DVDO Edge represents a centre hub of video control.

For more information, visit http://www.anchorbaytech.com/dvdo_edge/

Mark

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CIH Explained - Easy Math

The purpose of this page is to simplify issues such as calculating the Throw Ratio [TR] needed for using an anamorphic lens with a projector. Rather than redoing the CIH Explained page, I am adding this one, focusing on the math needed for working out proportions in your room.

SCREEN SIZE

The size of the screen is best found by dividing the room's length by 4.5. I've used 4.5 as it a 'round' number, but the actual number you use can be anything between 3.68 and 5.18 and where '4.5' is somewhere in the middle of that, but closer to the long end of the range. Dividing the room's length by the chosen number gives you an ideal screen height for that room that allows you to work out both Seating Distances and Throw Ratio.

EG 1: Room length of 6000mm / 4.5 = Screen height of 1333mm

If you want a larger screen than the math allows, then the best way to test this is to set the projector up at the back of the room and measure the height of the light at the minimum zoom [smallest image size]. This is handy for also checking the image height when an AT screen is to be used as these usually require the screen to be built out from the wall.

ASPECT RATIO

The aspect ratio is simply the width in relation to the height to denote the shape of the screen. 35mm film CinemaScope has an Aspect Ratio of 2.39:1 meaning the projected image is 2.39 times wide as it is high. As it turns out, our Home Theatre equivalent is 2.37:1. This is because TV's evolution to wide screen has been based on 1.33x steps where SD is 1.33, HD is 1.78:1 [1.33 x 1.33] and Scope is 1.78 x 1.33. The actual math requires the decimal point to be taken to at least 7 places .

1.3333333 x 1.3333333 = 1.7777777 and

1.7777777 x 1.3333333 = 2.3703702.

EG 2: Screen Height of 1333mm x Aspect Ratio of 2.37 = Scope Screen Width of 3159mm

SEATING DISTANCES

With 1080 projectors, you can sit as close as 2x the image height but should not sit further back than 4x. These are based on SMPTE recommendations and SMPTE's preferred distance is 3x the image height and the THX 36 degree rule is 3.68x the image height.

EG 3:
Screen Height of 1333mm x 2.00 = 2666mm [closest seating distance]
Screen Height of 1333mm x 3.00 = 3999mm [SMPTE Preferred]
Screen Height of 1333mm x 3.68 = 4905mm [THX furthest seating distance]

Note that in the 6000mm deep room, that you are off the back wall, so allowing for Back Surround speakers to be placed behind the seating location[s].

THROW RATIOS

The diagram shows that the beam angles become wider when using a Horizontal Expansion Anamorphic Lens. To ensure the best results, the TR really needs to be as long as possible. I am recommending a TR of not less than 2.0 [or greater] be used with the Aussiemorphic Lens MK3 for most HT projectors. There will be some cases that require the projector to be mounted way further back than the calculated TR of 2.0:1 gives.

The easiest way to find the Throw Ratio and or Projector Mounting distance is to use the following math.

Scope Screen Width x 0.75 x TR [in this case 2.2 = distance of projectors lens from screen.

EG 4: Scope Screen Width of 3159mm x 0.75 x 2.2 = 5212mm. Again, this page is an example and your individual projector may need to be mounted further back. If the projector can not be mounted back far enough, the screen height may need to be reduced.

Mark

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Upgrades - Will They Ever End?

I recently upgraded my AVR to the Pioneer VSX1018AH. This AVR is only THX Select 2, but it does feature the latest format decoders [DTS HD MA and DDTrHD] and given that processing seems to be the fastes evolving part of Home Theatre these days, I have decided to take a different path from the norm. The way I see it, our Home Theatres can be broken into 2 major groups [just like like real cinemas] - the A chain [Source Components and Processing] and the B chain [Amplifiers, Speakers and Room Acoustics]. Generally speaking, we are less likely to upgrade the B chain, but with BD came new audio formats that I decided that I needed to own.

When you purchase an expensive AVR, you are paying for the quality of the amplification as well as DACs and processing, and given that it is very possible that the current line up of processing could reach an end of life sooner than later, why not just upgrade the parts that needs upgrading?

I used to have separates [pre/pro and power amps] and I would someday like to go back to that arrangement, as dedicated power amplifiers do make speakers sound nicer [warmer] than the amps built in to an AVR. A few units like the one pictured below would be sweet!

So the way I see it, this AVR will serve as an AVR until I get my power amps, then serve as a good pre/pro. Should there be new formats or a reason to upgrade, I simply replace the AVR. The reason I suggest an AVR is that dedicated pre-pros are very hard to move as whoever buys it has to have separates to use it.

Mark

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A Dark Night on Blu-ray Disc

December 2008 saw the release of A Dark Night on Blu-ray Disc. This film was presented theatrically in two different film formats - 35mm film using conventional CinemaScope and IMAX using the higher rez 70mm film format. Whilst in the conventional cinema, the film was presented in CinemaScope 2.40:1, parts of the film had been originally shot for IMAX using the larger film format and was presented this way at speciality events capable of 70mm projection.

Bringing it home to Video has created some confusion as the Blu-ray Disc release of this film features the IMAX footage presented at full HDTV's 1.78:1 whilst the rest of the film is presented in a letterboxed format. It should be noted that real IMAX is actually closer to 1.44:1, so some material has been cropped to fit this in the 1.78:1 frame.

If you are like me and into CIH, then you can simply watch this film the way you most probably saw it in your local cinema - in CinemaScope - as the "Scaling" process used in CIH will remove the portions of IMAX footage outside the 2.40:1 frame along with the normal letterboxing black bars. However, if you wanted to create a system that will allow you to view this [and any future films in this format] you may need to combine both CIH and a really large 16:9 screen [with top and bottom masking] together.

Given that the BD version of the is film is trying to recreate the IMAX experience, you really want the IMAX portions of the film to be much larger than the rest of the film and given that Scope image height is based on seating distances, or vise versa, you want the Scope portions of this film to be maxed out for your seating distance so that when you see the IMAX parts, they are much taller. The letterboxing on the title means that approx 810 lines are used for the active picture and the remaining 270 are used to create the black bars. When the IMAX footage is seen, it will use the full 1080 lines. The idea of still using an Anamorphic Lens is to allow you to still watch all of your other "Scope" films the way they were meant to be seen, as well as keeping your other 16:9 program at the same height within the borders of the top and bottom masking.

The Screen:
What is required is a 16:9 screen the same width as the "Scope" screen you would normally use and this screen would have to feature removable top and bottom masking to allow you to create the Scope screen in the centre portion. This masking would remain in place for all programs except those shot in IMAX and maybe HD music videos like rock concerts. Your seating distances should still be worked out as if the Scope screen is the largest screen or minimum of 2x the height of the Scope screen not the 16:9 screen.

The Anamorphic Lens:
I use a Horizontal Expansion lens to allow me to create a Constant Image Height system should I chose to remove the lens from the light path of the projector. However I don't remove the lens and therefore if I had sufficient throw, I could use a Vertical Compression lens and achieve the same result. A VC lens would allow all 1080 lines to be vertically compressed into the same space as the letterboxed image allowing you to use the full panel of the projector. And this might just be the answer to this new problem. The new Aussiemorphic Lens [MK3] will be reversible to allow both HE or VC operation making it perfect for this kind of application providing that you throw is long enough.

Viewing the film.
This is probably the only case where you would be correct in watching this film in a letterboxed format. With the top and bottom masking removed, you would really experience the IMAX footage in proportion to the rest of the film based on your seating distance [SMPTE minimum is 2x the Scope mage height]. for the Scope portions making the IMAX events eye candy at 1080 vs the 810 for the Scope portions. When watching other films, you would move the VC lens back in place to reduce the image height and close the top and bottom masking and use the system like a conventional CIH system. You might even want to add side masking for 1.78 and 1.33 program.

I don't think this will become a mainstream method of film making, so I am sticking with a 2.37:1 screen for now.

Mark

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The Importance Of The Centre Speaker

The purpose of the centre channel speaker is to reproduce ALL the program in the centre of the sound stage. In today’s multi channel world, we use 3 speakers to reproduce the front sound stage – Left, Centre and Right. Therefore the quality of the centre speaker becomes very important to how well it will blend in with the Left and Right speakers. Sure “stereo” has traditionally being considered a 2 channel medium, but the very first stereo recordings [Bell Labs in the 1930’s] actually used 3 speakers to create the sound stage. The only reason we have 2 channels for “stereo” today is that 2 channels is all that could fit into the groove of a vinyl record. Unfortunately, all following formats for “stereo” music reproduction would only use 2 channels until the release of “multi-channel” recordings on formats like the SACD and DVD-A.

Multi-channel music goes beyond the front stage to include surrounds and even an LFE channel. The exact amount of content sent to each channel varies from recording to recording and can be perceived as spacious and enveloping when mixed correctly. Film sound has always [post 1977] been mixed as multi-channel, and the number of channels has now expanded to 7.1 discrete channels [Blu-ray Disc]. However, because the centre speaker can be responsible for up to 90% of a motion picture's soundtrack, the quality of the speaker reproducing this channel needs to be as good as the L and R speakers.

My LCR Array

I use identical LCR speakers for two reasons –

1. Sounds do not change timbre as they pan across the stage.

2. I do not hear an audio quality change when switching from 2ch to MC program.

Whilst centre speakers can be bought individually, it is difficult to find a store that will spit a pair of "main" speakers so that you can have three identical LCR speakers. The solution is to therefore work out a budget for speakers and find the best centre speaker [that you both like and can afford] and buy three. As I am also a fan of bass management, I also recommend including a subwoofer in that system.

Mark

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SAMSUNG BD-P1500

I have finally added a Blu-ray Disc player [Samsung BD-P1500] to my EQ rack. At last I can play the [limited] collection of Blu-ray titles from MY HD COLLECTION...

SAMSUNG BD1500

I recently had the Firm Ware in the BenQ W5000 updated to allow true 1080P/24 playback. After setting up the player to output 1080P/24, all I can say is WOW, how good does that look?

UPDATE: Not only does the Samsung BD-P1500 play Blu-ray discs allowing me to watch films at 1080P/24, but it also beautifully up-scales SD DVD as well outputting the up-scaled video at 1080P/50 or 1080/60. This player loads quite fast for a HD unit as well, with most titles averaging about 25 second load times.

A few pleasant surprises I have got with this player are:
1. It provides Horizontal Squeeze to native 4 x 3 discs meaning that they display with correct geometry on either the 16:9 or wide mode, or with the anamorphic lens in place and using the 4 x 3 mode. Not that I watch that much 4 x 3 content, but nice to know anyway.

2. Subtitle Relocation for subtitles overlayed as a bitmap like this example of from the film STAR WARS. This player has certainly given "A NEW HOPE" to those into CIH.

3. It passes PLUGE too...

Mark

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D6500K And Why It Is So Important

When you purchased your new TV [plasma, LCD etc], was it on display among many different sets? Did you choose it because it produced the brightest image in the room amongst the sets on display?
Did you really think it was the best of the bunch?

If you answered yes to any of these questions, then sorry, but your most likely not getting the quality picture you have just paid for.

FACT: All video is mastered at a specific colour temperature known as D6500K. Unless your set is running at this colour temp, your not seeing the images as they were meant to be seen. YOU WILL NEED TO GET IT CALIBRATED.

CIE Diagram

In order to make a set unique and stand out, set manufactures increase the colour temperature. This may seem to make the set appear brighter, but it also makes the images look more blue. To understand what this means, you need to understand that a video display is colour temperature related similar to the filament of a light bulb. If we apply a steadily increasing voltage to a light globe, first it glows red, then orange, yellow and eventually white. If we keep increasing the voltage, the metal will actually glow blue just before it pops. So in essence, blue is the hottest colour. Our video displays work exactly the same.

If we take a look at the above images, you will clearly see a colour shift between the two. The second image is the original [after the camera was white balanced first], and the one above is too hot [made this way with photo edit where all I have done is to increase the colour temp]. As the colour temp is shifted up, the image becomes more blue. The Blue image is similar to what a video display [TV ] set to about or above 7500K would look like. Any hotter [more blue] and the manufacture would have to add a red push to make skin [in this case the fruit] tones look believable.

I have marked the D6500K point on the CIE diagram with a red dot. Typically, most new TVs out of the box are going to measure about 9300K which you can find by following the arc to the left. If you choose to leave your display set this colour temperature, then 2 things could happen -

1. All of your images will look blue [the bananas don't look ripe in the top image].
2. You could actually shorten the life of your new display.

The only way to see video the way it was intended is to have your video display calibrated to D6500K.

There's no grey quite like 6500K :)

Mark

PLEASE INQUIRE ABOUT CALIBRATION HERE

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