Cinematic Audio Visual eXperience

Surround Sound Beyond 7.1 Part 2

2012-01-04T20:28:00.010+10:00

Back in 2007, I wrote about moving beyond 7.1 to systems with as many as 13 [11.2] channels. It has taken a few years and as of last year [2011], 11 plus c channel systems have became available in integrated AVR units. One company that has made this system possible is DENON.

The Extended System

The 11.4 [this system actually has 4 Sub-woofers] system is still based on the standard 7.1 speaker system. It uses special processing, additional channels of amplification and 4 more speakers. The additional 4 speakers are Height and Wide speakers which no only extends the width of the sound stage, but adds a sense of elevation which I'd to my surprise only added to the envelopment of the sound field.

The following is from the system owner:

"My LCRs weighing in at 100kgs each are Vaf I93. They’re a difficult speaker to drive, needing an amp which is 2 ohm stable which drastically limits the amplifier options. I’m powering them by 2 x Rotel 1090 amps which are rated at 700w into 4 ohms per channel and have 2 channels each – this leaves me with 1 channel spare and I may try biamping the centre channel at some point. The Rotel 1090 amps are 40kgs each. The LCR speakers are biwired – and yes speaker cable and interconnects make a big difference to the sound quality of these speakers.
The front wides are VAF I33 and the surrounds are VAF DC-X. These 4 speakers are powered by a Rotel 1095, 5 channel amplifier. This amp is rated at 200w per channel and also weighs in at around 40kgs. I had the spare channel powering bass shakers in the chairs but this is currently disconnected as I don’t feel it’s required with the current subwoofer setup.

The heights are VAF I91 and the rears VAF DC-X. These 4 speakers are powered by the Denon 4311 AVR. Down the track I’ll pick up another Rotel 1095 to power these speakers. I have had smaller speakers in the past for the surrounds and rears but my experience is that full size speakers for these locations make a huge difference.

The subs in the front corners are VAF MPB SW 19. They’re a powered subwoofer. The inner subs are JTR Captivators weighing in at 80kgs each. They’re a passive sub and are currently and temporarily being powered by a Behringer EP4000 amp which is giving them approx 1000w each. The JTRs are rated for a 4000w amp and I’ll be upgrading the amp shortly to get them closer to their potential. The Behringer is certainly an excellent bang for buck amp for powering passive subs.

The Denon 4311 AVR is a 11.2 receiver and we’re using both subwoofer outputs, 1 to each pair of subs. The room has been analysed with REW software and from that the front of the room has side and ceiling acoustic absorbtion panels, which has greatly increased sound clarity. The rear of the room is lined with bookcases to be useful and diffuse the sound waves off the back wall. Interestingly before the sound treatment we were getting much more sound reflection off the ceiling than the side walls. The floor is carpeted with a soft underlay and we weren’t getting any reflection off the floor that we could measure.

The REW software was further used in conjunction with 2 Minidsp’s to equalise the 2 pairs of subs. The Audyssey MultiEQ XT32 of the Denon AVR was then run after the sub pairs were equalised with the Minidsps. Result of the 4 subs running together is a very flat response down to 15Hz. Although I’ve read that different types of subs shouldn’t be used together, room measurements and listening tests show that the VAF MPB SW19s work very well together with the JTR Captivators.

I’m a huge Audyssey fan and Audyssey DSX is used for the expansion to 11 channels and a future upgrade will be to get the Audyssey Pro installer kit to take advantage of the Audyssey Pro capability of the Denon 4311.
The audio in our Home Theatre, like many people’s has been a work in progress over 12 years, starting with a 5.1 setup, then 7.1, 7.2, 9.2, 11.2, 11.4 . Speakers, amps, cables, interconnects, AVRs have all been changed many times along the way."

On the video side, the system uses a 3D capable JVC X3 and Aussiemorphic Lens MK4 along with a Radiance Mini3D. The system is 3D CIH and very impressive from the front row of seats which are about 2.5x the image height back.

The JVC Projector and MK4 Lens

The Wide Screen

I like how captured images of Scope Screens always look WIDER from an an angle. So whilst I am very impressed with the benefits of Height and Wide speakers, the question [challenge] is how do I implement such a system in my own room?

Mark

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Media Player Classic

2011-12-12T17:40:00.006+10:00

I have once again adopted a PC into my HT for its end user control-ability. The program I use is called Media Player - Home Cinema Classic and this program not only allows streaming of HD sources [MKV files], it also allows custom scaling including both vertical stretch and horizontal squeeze at the same time. You can make these adjustments on the fly or preset the program.

The frame in the following three shots is a screen capture taken from a 16:9 [1920 x 1080] HD video camera. The first image is how it looks when presented on my Constant Image Height system with pillars at the sides.

By applying both Vertical Stretch and Horizontal Squeeze, it is possible to change the Aspect Ratio whilst projecting through the anamorphic lens and still maintain correct geometry. The 2nd image is approximately 2.00:1. Whilst it gains width, it loses some height in the process. The image looks better on screen than these shots show.

The 3rd image is an extreme example where I am able to 'fill my screen' by applying 33.3% vertical stretch allowing the Aussiemorphic Lens MK5 to optically restore the geometry.

The challenge when modifying program like this is the risk of losing the top of bottom of the subject matter [the tops of heads can sometimes be clipped]. To work around this, the Media Player allows vertical panning of the image as well as image resizing. This function is very handy for CIH with an anamorphic lens and would also be useful for someone wanting a CIH system that does not require the use of an anamorphic lens. There are two methods that don't use an Anamorphic Lens. They are known as "Zooming" and "Shrink". Both throw away 25% of the vertical resolution but are certainly workable with 1080 projectors with this program.

The basic controls are mostly found on the the numeric key pad:

Vertical Stretch = 8
Vertical Shrink = 2
Horizontal Shrink = 4
Horizontal Stretch = 6
Image Shift up = CTRL+8
Image Shift down = CTRL+2
Image Enlarge = 9
Image Shrink = 1
Size Reset = 5
Pause/Resume = Space Bar
Exit full screen = ESC

Mark

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CAVX Slide

2011-11-15T09:49:00.005+10:00

Due to popular demand to move the Anamorphic Lens out of the light path for native 16:9/4 x 3 program, I have released a cost effective Slide that is designed to bolt straight onto the new PROJECTOR STATION. At this stage, the Slide is manual, but an electric version is under development.

The Slide can be positioned in a number of locations to ensure full compatibility with any projector/A-Lens combo. When mounted on the Projector Station, the Slide can be moved side to side as well forward and backward to ensure perfect alignment.

To inquire about this product, email me using cavx01@hotmail.com

Mark

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OPPO: BDP - 93

2011-10-13T21:46:00.006+10:00

Recently I got to play with an OPPO in my own system. Whilst I have had experience with these players in other people's systems, I currently own one or experienced it in my own system. The only word to describe this player is "perfect". The player is heavy and you know from the moment you un-box it, this is a series piece of hardware.

OPPO have only released a very select group of products, starting with a DVD player several years back. All of their devices have been brilliant in both performance and build. The BDP-93 is another fine example of their quality.

My interest in this player is for both video and audio. OPPO have been active listeners to their customers and this BD player not only shifts sub-titles out of the black bars, it has a built in Vertical Stretch function for CIH systems that can't VS the image. A CIH owners dream machine!

It loads discs extremely fast, even the new Star Wars BDs which are for some reason exceptionally slow loaders. The set up menus are detailed offering options for everything including the level of video you want [0~255] or need. And it also supports 3D.

As mentioned, the player not only plays Blu-ray at what can only be described as "at reference video levels", it plays DVD-A and SACD as well allowing the high rez audio to be passed over HDMI. Typically DVD-A and SACD players must be connected to the system via analogue (6 leads) which to me kind of defeats the purpose of "pure" audio. Because in the end of the day, everything we listen too is a direct result of the interaction of the speakers and the room. Modern AVRs have room EQ functions to correct for anomalies that normally plague an AV system, and when using the analogue inputs for MC, the complex EQ settings are bypassed meaning that even whilst you have the purist audio, your room may just be the weak link. These players also have to handle bass management which is often not as good as the crossover in a good surround receiver - especially one that is THX certified as mine is. And not to mention their DACs are often not up to the task either. It was pure joy to listen to both an SACD and DVD-A disc in the digital domain.

I am very impressed with the OPPO BDP-93 and I want one as I now fully understand the talk about these players is not just hype.

Mark

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Star Wars on Blu-ray Disc

2011-09-17T11:15:00.005+10:00

Probably the most anticipated release, STAR WARS - The Complete Saga has finally come to Blu-ray Disc! Each film is presented in 2.35:1 letter box at 1080/24P with DTS HD MA 6.1 sound. Despite some issues such as excessive dynamic range compression and edge enhancement, these are the best these films have looked and sounded on any home video format to date.

Once again, George Lucas has made more "changes" to these classic films, some for the better and others considered to be not so great.

The 9 disc box [pictured above] features all 6 films along with 3 discs [yes they are all BDs] of extras including the original making of documentaries from the 1977, 1980 and 1983. The deleted scenes are also worth a look.

Overall this box set is good value for money and a must add for any BD collection.

Mark

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BenQ W6000

2011-08-25T14:35:00.005+10:00

My BenQW5000 recently developed a case of the dreaded "vertical banding" and rather than repairing the unit, I decided it would be best to replace it with a new model. Thanks to a group buy at DTV Forums Australia, I was able to get one of the BenQW6000 projectors at a very good price.

BENQ W6000

The W6000 is still DLP at 1920 x 1080 and uses a smaller DMD of 0.65". I am not 100% sure if the DMD is still a Dark Chip 2 or if these are now DC3. The previous W5000 used the DC2 0.9" DMD. The lumen output has also been raised to a whopping 2500 from the previous 1200 of the W5000. The zoom has been increased from 1.2x to 1.5x and whist the lens appears to be the same, the smaller DLP imaging chip has allowed greater zoom as the beam angles are now smaller. BenQ have changed the chassis on this level of projector and this is the first change in over 5 models. The W6000 is quite a bit smaller than the previous W5000 and as a result, the fan noise is now audible. The W6000 now features H and V lens shift via a small joystick replacing the electric V [only] lens shift of the W5000.

Calibration

The grey-scale was not too bad out of the box [left] and was much improved [right] after calibration. The previous W5000 had a variable iris that could be accessed on the fly via the remote. The W6000 requires a dive into the service menu to make this adjustment. Out of the box, this unit was producing over 27 Foot Lamberts and where the D-Cinema spec calls for 14FL. I elected to turn this projector down to match that light output. There is plenty of range above the factory setting, so as the lamp ages and dims, I will be able to maintain the proper light levels needed for great video. The colour seems slightly improved too based on the CIE diagram. I am sightly concerned about the Gamma which was off the charts for this calibration. It will be interesting to see how that looks after a few hundred hours.

W6000 and MK5

The W6000 is now installed behind the MK5 Aussiemorphic Lens. As you can see, the benQW6000 is quite a bit smaller than the previous W5000. Like the W5000, the W6000 fully supports CIH offering the same Letter Box and 4x3 modes for changing ARs on the fly. The smaller 0.65" chip is said to be a little less sharp than the previous 0.9" chip. I think because the lenses on these projectors are at times questionable, that the image chip can't really be blamed. Over all I am happy with the performance of the BenQW6000 1080 DLP.

Mark

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Blu-ray Disc Box Sets

2011-07-14T17:20:00.011+10:00

Blu-ray Disc began on shaky legs due to its high price, limited software selection and competition with a more cost friendly format. Now that BD is into its 6th year, we are getting some awesome releases of both new and back catalog titles including special boxed editions of the ALIEN ANTHOLOGY [November 2010], THE LORD OF THE RINGS Extended Editions [June 2011] and later this year, STAR WARS [September 2011].

This version of the THE LORD OF THE RINGS Extended Edition came with a replica of "THE ONE RING".

Mark

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Road Testing the New MK5

2011-06-19T11:49:00.008+10:00

The MK5 is now complete and I taking orders for this new version of the Aussiemorphic Lens. Whilst there has been discussion of forums, the best way to explain how the Anamorphic Lens works is to take it those that are interested in Constant Image Height or CinemaScope Projection and let them see it for themselves. Last night [June 18, 2011] I ran the second of a series of Home Theatre Forum based meets to show off CinemaScope Projection and the new Aussiemorphic Lens MK5.

Sunnybank HiFi

Thanks to Sunnybank HiFi for allowing me to use their show room and their equipment including a Mitsubishi HC9000 projector for the night's Scope Projection demonstration. I look unsure about the Control 4 system running off the I-Pad.

A previous meet had been held at the BIG PICTURE PEOPLE located at Robina on the Gold Coast on the 28th of May and I plan to hold another at Aussie HiFi sometime in July.

The Aussiemorphic Lens MK5

The Aussiemorphic Lens MK5 in front of the Mitsubishi HC9000. Although we were not able to show 3D, 2D was looking mighty sharp and I think from the feedback on the night [and on the forums], those that saw it were impressed.

Mark

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Lumagen MINI3D Radiance

2011-05-30T22:22:00.006+10:00

Just when everything was looking like CIH was easy to adapt to any system, along comes 3D. Whilst many of the projector manufacturers included scaling for CIH in 2D, they all [except the Mitsubishi HC9000] seemed to miss this for 3D. The solution would be to add an external VP. However whilst many FW upgrades for video processors like the DVDO EDGE allowed compatibility with 3D, they only served as a pass through and would not Scale. Enter the Lumagen Radiance range.

The Lumagen Radiance MINI3D is a compact Video Processor featuring the same processing as the higher spec devices except it has just 2 HDMI inputs and 1 out. It does however scale for 2D/3D as well as offer pre-set custom scaling for 1.85:1 [35mm flat] as well as 1.78:1 [HDTV]. It seems however that to use the 1.85:1 setting, you have to leave your anamorphic lens in the light path.

1.85:1 is just 4% wider than 1.78:1, so the processing has to apply 4% vertical stretch to the image to use the full 1080 lines and to ensure the geometry is correct for use with an anamorphic lens, the image also must be horizontally squeezed [about 21%] meaning the full panel is not used. This is not really an issue as leaving the anamorphic lens in place all the time has proven benefits such as constant pixel density, calibration settings, light levels and geometry [pincushion/grid distortion].

Mark

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The New Aussiemorphic Lens MK 5

2011-04-14T22:06:00.037+10:00

At $3999AUD, the Aussiemorphic Lens MK5 is the best priced, true cylindrical anamorphic lens of its size on the planet. The MK5 is a complete re-think on the Aussiemorphic Lens and whilst it uses the same amazing optics previously used in the the MK4, the new case is now made from both alloy and plastic. It has been designed to move the front lens in and out extending the operating range even further than that of the MK4.

Following the design style of the traditional cylindrical anamorphic lens, the case is now 'round'. The optics of the MK5 [originally used in the MK4] are amazing and designed by an optical engineer that designs lenses for Canon Cameras. The round case allows for 'rotation' which allows for an even finer alignment of the lenses because both the front and rear lens can now be rotated for perfect vertical alignment.

The Aussiemorphic Lens MK5

This new case is MASSIVE. I have designed the new case to allow an even greater range of projector throws. The front lens will now move in/out via a threaded sleeve. The new stand has improved adjustments for alignment which now include independent height, tilt and rotation along with yaw. The stand is compatible with CINESLIDE.

Machining parts for the MK5

The new MK5 case features all machined parts. Above is the threaded collar [left] being turned on a lathe, that will move the front lens in and out. The benefits of this design over the previous MK4 lens are - no tool required for the astigmatism adjustment, and your hands will not obstruct the light path whilst performing this. The outer surface of the ring is straight knurled for grip. On the right is the redesigned alloy stand clamp and leg supports which were made on a milling machine. All the alloy parts are all anodized flat black.

The New Aussiemorphic Lens MK5

The Aussiemorphic Lens MK5 Lens is complete. The re-designed stand completes the hi-tech look of the lens. It features a 6mm alloy base plate with 19mm Stainless Steel legs.

The Aussiemorphic Lens MK5 is now in production and I am now taking orders. If you would like to inquire about price and availability, please email me using cavx01@hotmail.com

Terms and Conditions: This product is not a 'stock' item and because it is custom made, orders can not be cancelled once production has commenced on your order. Refunds will not be issued just because you change your mind.

A little history about the CAVX Aussiemorphic lens:

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]
2010 MK3 CAVX Corrector is released
2011 MK5 [4 Element Cylindrical design with improved case design]

Mark

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SCOPE and 3D is AWESOME

2011-03-07T16:48:00.004+10:00

Even though I have often posted the "CinemaScope, you see it without glasses" catch phrase, I have to admit that when 3D and CinemaScope are combined, it is pure video nirvana. My friends at Sunnybank HiFi have certainly changed my opinion of 3D over this weekend [March 5 and 6, 2011] by lending me a Mitsubishi HC9000 [3D] projector, a SONY 3D BD player and some 3D BD titles to use in my own cinema.

Here is a quick snap of me enjoying 3D from the front row [2x the image height]. It amazes me how much negativity there still is to 3D, yet I must say, having had this in my own room, I now want this [and so does Sammy].

If the studios really want 3D to succeed, than titles like the ones picture above need to made available to every consumer and not just be a part of promotional deals such as the Panasonic or Samsung 3D flat panel deals.

AVATAR in 3D is something else. The film in 2D is just not the same experience.

No my camera is not playing up. This is a 3D screen shot without the glasses. Even though AVATAR was released on BD as 1.78:1, the film certainly works for Scope. The purpose of this shot is to prove correct geometry.

MITSUBISHI HC9000

The set up used a makeshift stand to sit the Mitsubishi HC9000 on. In this instance, I used (for test purposes only) one of my MK3+C lenses. If I was able to hold on to the projector for a week, then I would have set up my MK4. The MK3+C surprised me allowing good focus edge to edge. despite the shorter than normal throw. Of course it is not as good as a true cylindrical lens which can be dialed in to the exact throw distance, however I was actually impressed with how well it performed. If I didn't own my MK4, I most certainly would be happy with the MK3+C.

The Mitsubishi HC9000 actually works for CIH allowing both "Anamorphic Mode 1" (Vertical Stretch) and Anamorphic Mode 2 (Horizontal Squeeze) to work in 3D. The catch is, you can only select the mode with the disc stopped as it can't process the 3D feed. The challenge for a 3D CIH system is Scaling and apparently because 3D on BD is sequential L/R full frame 1920 x 1080P, the processing in some 3D projectors just can't manage the double load.

Set up is PLUG N PLAY. You simply connect a 3D capable BD player by HDMI, plug in the IR transmitter [that syncs the glasses], select 3D and turn on the glasses to enjoy some of the most amazing images ever seen on home video.

Mark

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MK3+C Back By Popular Demand

2011-03-01T02:18:00.004+10:00

SOON TO BE DISCONTINUED

The last few units are selling fast. This product will not be produced after these units have sold. All lenses in this batch feature the CAVX Corrector as standard making these 5 element adapters.

The actual product is slightly different to what is shown in the image above as I have blacked out the edges of the glass to improve CR.

The CAVX Corrector: The 5th element is an astigmatism corrector and the image below shows an A/B comparison of the image with [left] and without [right]. You need to click the image to see the full effect.

Out of all the test patterns, clearly visible text is probably the best test for image clarity.
Despite what has been posted on the internet, CAVX has never sold the design or IP rights of the Aussiemorphic Lens MK3 to any 3rd party company or organization.

To find out more, email me using cavx01@hotmail.com.

Mark

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The New Projector Station

2011-02-02T21:14:00.026+10:00

The new Projector Station design is finalized and the first of these new units went into production in July 2011. Unlike earlier versions which tended to flex under load, this product is made from 6mm aluminum plate, anodized black and it will not bend.

I've installed a Projector Station in my demo room which is being used with the BenQ W6000 and Aussiemorphic Lens MK5. This installation is a shelf mount. The main plate holds the Aussiemorphic Lens MK5 and the projector mounts to the second plate. The assembly is the same for inverted or ceiling mounting. If inverted, a spacer plate [not supplied] is needed between the main plate and the ceiling.

Whilst the design is basically the same, there are some refinements that make this new version better. One of the changes is that all projectors will be centered and the mount for the anamorphic lens can be repositioned to cater for projectors with offset lenses. Of course cable management and thread adjusted leveling will remain as standard.

The 5 slots across the front are to allow for a new Slide [coming soon] to be attached. Because I choose to leave the lens in the light path all the time, I have attached my Anamorphic Lens with a single bolt through the centre slot.

The 3 point thread adjustment system is simple to set up and unlike many mounts that use a ball and socket, will not move until you move it. The Projector Station is designed to remain stable even when when the Anamorphic Lens is moved out of the light path on a slide. All supplied hardware is 306 Stainless Steel.

The Projector Station is currently compatible with over 30 different projectors. As more projectors are added, some of the holes have become slots. The list of compatible projectors will grow as I obtain their technical data.

Projectors:

BenQ:
W5000
W6000
W6500
W9000
W10000
W20000

Epson:
EH-TW5000 and all Epson projectors using the same chassis
EH-TW6000
EH-TW6000W
EH-TW8000
EH-TW9000

Infocus:
SP8602
SP8682

JVC:
HD250
HD350
HD550
HD750
HD950
HD990
X3
X7
X9
X30
X70
X90

Mitsubishi:
FD630U
HC3800
HC3900
HC4000
HC6800
HC7000
HC9000

Optima:
TBA

Panasonic:
TBA

SONY:
VPLHW30ES
VPLHW95ES
All SONY HD projectors that use the SONY PPS10 mount.

For more information on this product, please email me using cavx01@hotmail.com

Mark

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An Example Of True Anamorphic Video

2011-01-17T16:19:00.005+10:00

I recently used a true HD [1920 x 1080] video camera and recorded video through my MK4 Aussiemorphic Lens. The lens was set up in the same orientation as it would be used for projection, except the device behind the lens is a camera, not the projector. The 1.33x horizontal expansion optics compress the light entering the camera's lens resulting in a field of view 33% wider than what the standard HD camera can capture. Therefore the image appears horizontally squeezed as if it were scaled for CIH in the projector. The difference here is that image was captured at full 1920 x 1080 rez, not taking a letter boxed image and scaling it to fit the panel as we currently have to do for Blu-ray Disc in a Constant Image Height system.

Captured Image

The Camera records the video clips as MP4 which plays back through Windows Media Player. To view this on my system at 1:1 pixel mapping, I connect the Laptop to the system via HDMI and select Projector Only [Windows key+P for Windows 7].

Projected Image

To restore the geometry, I simply project the video through the MK4 lens using REAL mode on the projector. REAL mode is a true 1:1 pixel mapping mode. The MK4 optically expands the image to fill the screen. Therefore, any possible scaling artifacts from electronically scaling the image first have been eliminated.

NB: The images in this post are not true screen shots, rather doctored images from the original file. The 1st image has been reduced by 25% in both H and V, and I've added the side pillars in Paint. The 2nd image was simply the original image with 25% reduction to the height only. Both images are representative of what is seen on screen with and without the lens.

Mark

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CAVX Products: A Look Back Over The Last 10 Years

2010-12-07T17:38:00.011+10:00

Cinematic Audio Visual Experience was registered in July of 2000. Since that time, I have developed several products including the Aussiemorphic Lens, Projector Station and CAVX Speakers. I am also an authorized re-seller for JVC and BenQ projectors.

CAVX is about the total home cinema solution starting at the design stage to ensure everything works in perfect synergy.

CAVX AUSSIEMORPHIC LENS:
The MK4 is the Australian first cylindrical 1.33x anamorphic lens. It features precision, fully corrected optics and is housed in an alloy case. The case was designed by myself before I had the CAD drawings done professionally for engineering shops to build. The optics were designed by the optical genius that designs lenses for Cannon Cameras. His company also own the factories that machine the glass.

In April 2011, I decided to improve the case design and called the version the MK5.

CAVX CORRECTOR:
This single lens is designed to be added to the older Aussiemorphic Lens MK3 to allow it to deliver a much sharper image than is possible from prisms alone. I am in the process of organizing another group buy on this lens for all those that own the MK3 and would like to get even better performance.

CAVX CALIBRATION SERVICES:
Available for locals [SE QLD] that want a 6500K grey scale for their displays. Before and after charts can be provided.

CAVX DIFFUSER:
This acoustic tile is designed for when you need to break sound up and still keep the sound live.

CAVX PROJECTOR STATION:
The Projector Station is a mounting solution for mounting an anamorphic lens with a projector. The revised version of this product is now made from 6mm laser cut anodized [black] aluminum.

CAVX ROOM DESIGN:
Based on world wide standards in compliance with SMPTE and THX.

CAVX SPEAKERS:
Over the last 10 years, these have undergone a few modifications. The most recent development is the move from passive to active circuitry.

CAVX AT SCREENS: I am now able to offer a DIY solution to AT screens. The new fabric has just 3% perf area meaning that this fabric can be used in setups other AT fabrics can not.

To inquire about any of the products above, please email me using cavx01@hotmail.com

Mark

CAVX Speakers are now ACTIVE!

2010-12-01T08:00:00.002+10:00

I have always wanted Active Speakers for my own system and I am finally in a position to be able to offer these to the home cinema market as a new and exciting DIY speaker kit. I have built myself a new set of 25mm MDF enclosures that are trapezoid to help reduce internal box resonances.

Passive Speakers:

Typically a passive speaker is defined as one being driven by a single external amplifier. The power from this amplifier is then divided into high pass and low pass bands by components [capacitors, induction coils and resisters] that make up the crossover network. For this reason, speaker building has been called an 'art' rather than a 'science' as once completed, there is little flexibility to the design or how the final speaker will sound so it is an 'art' getting the balance just right.

Active Speakers:

An active speaker is one that contains separate amplifiers for each driver(s). A key benefit is that an electronic or "active" crossover is used to divide the audio spectrum into 2 or more filtered bands before amplification. Each filtered band is then amplified by separate amplifiers to drive each speaker driver in the system. The end result is a system that delivers higher dynamic range than is possible from a passive system. It has been said that when comparing an active system [say 60 + 50 watts] to a 200 watt amp, the 200 watt amp clips first! This system features 70 [LP] + 30 [HP] watts powering the VIFA drivers I was using in my own CAVX Speaker system. The built in electronic crossover is 2K/4th order [Linkwitz-Riley], resulting in no phase errors between the drivers. Because the new crossover is slightly higher than the original 1.5KHz, I had to make a slight modification to the baffles in order to keep driver spacing correct.

The reason just 30 watts can be used for the HP section is because tweeters are generally more efficient [say 95dB/1w/1m] than woofers [89dB/1w/1m]. In my case, I have 3 tweeters wired in parallel, and even though each of these ring radiator tweeters is just 91dB/1w/1m, three in parallel gives some 8dB gain and where 6dB is perceived as being twice as loud. I get a small loss in SPL due to the fact that I've wired resisters in series [after the tweeters] to bring their load to the amplifier back up to 4 ohm.

New Vs Old

The speaker on the left is the new CAVX Active speaker with ABS baffle. The speaker on the right is the original design with a passive crossover and MDF baffle. Because the new active crossover is now 2K, the spacing between centre to centre of the three tweeters had to be reduced. I therefore had to recess the centre tweeter due to the tweeter's physical size.

I conducted my first listening tests today [23/11/2010] and I am very impressed. Whilst I've always been able to play back a film soundtrack at 00dB reference levels, I typically would listen at between -20dBFS ~ -10dBFS. These speakers are clean and I was wanting to run them at 00dB reference in several instances. The reason is simply because the new active configuration lowers the distortion and to our ears, it just seems we can tolerate higher levels.

To connect an active speaker, one simply needs pre-amplifier outputs [pre-outs] on the the back of their AVR. The CAVX Active Speakers are easy to connect given that they feature a single RCA input on the back of the amp module along with level controls which will allow the end user to balance or unbalance the system as required.

To inquire about these speakers, please email me using cavx01@hotmail.com

Mark

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CAVX Diffuser

2010-11-08T18:33:00.006+10:00

To create the best Home Cinema, the room must have control over reverberation and have good sound isolation. There is basically three types of wall surfaces in a typical room: Absorptive, Reflective and Diffusive. Absorptive panels are used to reduce reflections. Reflective panels are used to promote reflection [not really used in a HT unless the room is over damped]. Diffusive panels are great for keeping the room live without creating reflections. Basically, sound waves behave like the balls on a pool table. The Diffuser will break up the sound waves without absorbing them. A bookshelf is one item found in a room that can work well, however in my own room which was purpose built for the playback of film sound, no such items exist.

CAVX Diffuser Tile

So in the interest of improving the acoustics of my own room, I have developed an acoustic tile that acts as a diffuser. Basically it a series of non even surfaces that bounce sound in many directions at the same time. The tile is made from black ABS plastic that has been vacuum formed over a mold that I made. The Diffuser is 385mm x 385mm x 75mm. Here the diffuser has been placed between my back surround speakers and it had changed the way they sound in a good way.

To inquire about this product, please email using cavx01@hotmail.com

Mark

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CEDIA 2010 Atlanta

2010-10-02T16:45:00.013+10:00

This year was my first trip to the US where I attended CEDIA in Atlanta. CEDIA in the US is about 6x the size of the Australia show and as a result of many companies being based in the US, there are many more products that we may never see down under. The following is just a sample of what I saw.

Projector Designs 'Scope' Projector

Whilst 3D was everywhere, so was Scope projection and the first native Scope projector was offered by Projector Design. This is not really a 'native' machine, rather a masked 16:10 [2560 x 1600]. Whilst impressive, it's price places it out of the reach of many and in the end of the day, I still feel a good Anamorphic Lens + 16:9 projector is still the best option.

LED Projectors

This was impressive for the dollar. I was really impressed with the colour, and of course, no rainbows.

The Worlds Largest Plasma

Even though I am not a fan of Plasma, this was impressive. The worlds largest Plasma at 152" and $500, 000USD.

3D Products

I'll start here as this was in my opinon the best 3D I've seen.

This system featured a Barco with proprietry software and delivered the most amazing 3D I've seen. The 3D images depth of field not only extended in to the picture abut also produced almost holographic images that came right out. In one scene, I observed people actually reaching out to touch a 'potato cod' that literally swam right out. This system must have been using a refresh like 144Hz as there was no flicker that I see with the 120Hz home 3D program using LCD shutter glasses. Whilst true 3D was amazing, even the 2D to 3D conversions were impressive.

And unlike many 3D systems, this one used a white screen, not a silver screen. The screen used was the 4K system from SmX which is a massive step up from the previous screen fabric.

Dual Sim 2 Stack

Dual stacking allows for the use of passive glasses instead of LCD shutter glasses. This system used the Dolby 3D glasses which are not cheap. Out of the 2 passive system, I prefer this system.

LG [sorry no image] offered a 6 panel LcOS system which, like a dual projector stack, allowed passive glasses from a single lens solution.

All Things THX

This room is quite special. It was THX certified and completely free standing. The room was quiet, and once inside, the noise from the trade floor was gone. The speakers used in this room are Procella Audio which achieved THX certification during the show.

The THX Booth

Sammy and I in our THX retro T-shirts.

My AVS Interview

Thanks to AVS, I was given the oppertunity to promote the Aussiemorphic Lens MK4. Even though I was not an "exhibitor" this show, it still offered me great exposure and marketing potential, so well worth the trip. The video is on you-tube under 'CAVX Lens'.

Mark

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3D - Fad Or Is It Here To Stay?

2010-09-02T21:54:00.010+10:00

Whilst I have been impressed with the little exposure I've had with 3D, I do have to ask if it is just another fad or is it here to stay? If I am not mistaken, this is the 4th attempt to bring 3D to the cinema and naturally, like all things cinema, it finds its way in to the home. However like all new technologies, there has to be engaging program readily available [at the right price] or the consumer will simply not support it.

Since its introduction, 3D has not been without its challenges and partly why each time, the format has failed. The capture "see it without glasses" [below] says it all and is probably 3D's biggest hurdle as the feedback I hear is the resistance to having to wear glasses to see 3D.

CinemaScope was introduced in 1952 and whilst it may have had a name change, it has always remained as part of modern cinema and now is being adopted into the home for CIH systems. 3D can also be made to work with an anamorphic lens.

Mark

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The Aussiemorphic Lens MK4 Batch 2

2010-08-18T17:11:00.014+10:00

The 2nd batch of Aussiemorphic MK4 Lenses have all shipped.

Due to the desire to deliver the very best product I could for the price, I have reviewed and made some slight changes to the MK4, batch 2 [serial numbers 00011~00020]. Whilst a few are cosmetic, some are indeed practical. As a result, some previously documented images will appear different from the actual product. The revisions are:

A redesigned rear lens mounting system including an O-Ring to prevent dust entering the lens case.
Re-worked front lens mounting system.
Blackening out of the sides of the lenses.
A redesigned based plate on the stand to allow "GetGray's CineSlide" compatibility.
Detail on the side of the case removed as it was not visible with the stand attached.
Laser engraved art work replaces the etched art work.
Storm Cases for shipping.

With the lenses from batch 1 [serial numbers 00001~00010], the art work on the cases was engraved exposing the alloy. That process was both time consuming and expensive, so I have turned to laser engraving which simply bleaches the anodizing rather than removing it. As it turned out, the new process was substantially more cost effective and I therefore invested the savings back into the product by investing in "Storm Cases". Therefore each MK4 will now ship in its very own storm case.

Laser Engraving Vs Physical Etching

The part of the left is an original from batch 1. The new batch part on the right now features laser engraving which has been preferred by those that have seen both versions.

I am taking orders for batch 3. You can email me using cavx01@hotmail.com to inquire about the MK4 and to place an order.

Warranty: Limited 12 months.

Mark

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Aspect Masking

2010-07-13T15:43:00.008+10:00

It is great to see another Australian product made for the Constant Image Height projection market. Side masking is really the cream on the CIH cake.

Mark

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CEDIA 2010

2010-06-01T21:50:00.015+10:00

It is official. The CAVX MK4 Aussiemorphic Lens will be shown at CEDIA 2010 [Melbourne Convention Centre, June 23~25] at the JVC stand using their awesome HD950 D-ILA true HD projector.

The 4K projector [3rd image] will also be back. During discussions with JVC, I advised that the best approach to show off both the HD950+MK4 and 4K projectors would be to adopt what is best called a CIH+IMAX approach. Rather than using the dual masking system and VC lens I described in THIS link, we will simply use a 16:9 screen of the same width as the Scope image [4m wide] and use a single drop down masking panel that equates to 25% of the vertical screen height. This mask will be down during all projection using the HD950+MK4 set up and will be used to demonstrate CIH using a HD projector and anamorphic lens. It will only be raised for use with the 4K projector.

Below are some of the exciting products on show at CEDIA 2010.

AUSSIEMORPHIC LENS MK4

JVC HD950 D-ILA HD Projector

JVC 4k PROJECTOR

Below are just some of the images captured.

JVC 3D HD Monitor

3D has progressed quite a bit in the last 12 months. Whilst this is the same monitor shown at last years expo, the content was better and some of the 3D pop out effects were almost holographic. This monitor only required a 3D encoded disc which plays on any 2D player over HDMI 1.3 and passive glasses. The same circular polarized glasses used by the cinema REAL D system works with this display.

CAVX MK4 + JVC HD950

The JVC HD950 was used with the Aussiemorphic MK4 to demonstrate CIH. This year the 4K was back, so in order to show both projectors, we used a 16:9 screen with a drop down mask to create what is known as CIH+IMAX as described above.

Mr THX

Meeting up with Anthony Grimani [formally of THX] was probably the single best thing to happen for me at the CEDIA Expo when he conducted a field test on the MK4 and gave it the thumbs up.

Mark

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DTV Australia Forums GTG at Selby's Acoustics

2010-05-04T16:00:00.016+10:00

Whilst not the first, this was most certainly set to be the largest Home Theatre meet for Australia. Unlike CEDIA [next expo is June 2010], this was organized by Home Theatre enthusiasts for Home Theatre enthusiasts. The original purpose was to allow a select group of members from DTV Forums Australia to experience a Scope set up demoing the MK3 lens at Selby's Acoustics in Halam, Melbourne.

I decided that it would be in my best interest to attend and bring both the MK4 and CAVX Corrector so that everyone attending could see all three versions and make an informed decision about the products. Due to an unprecedented interest by members, the organizers were then forced to place a limit on the number attending to 50. In the end, 42 showed which is a pretty good effort.

Two rooms were set up, one with a 150" [diagonal] fixed frame Scope screen [used the MK4], the other with a slightly smaller drop down Scope screen [used the MK3].

A real treat for me was having a member bring in his ISCO III for me to demo astigmatism correction to the group. The ISCO III is regarded the best of the best and whilst I did not get to do a shoot out with this lens against my MK4, I think that MK4 held its own so far as pixel level clarity goes.

Along with a dual "Scope" set ups, we also had amazingly loud audio with these speakers. Yes, those sub-woofers are the famed "Seaton Submersives".

As a guest speaker on the night [May 7, 2010], it was my privilege to share both my knowledge and passion for Home Cinema with all who attended. My thanks go out to all involved with the organization and hosting of the event and the members that came for evening.

Mark

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SCALING AT THE SOURCE

2010-04-09T18:05:00.005+10:00

I recently re-visited experimenting with using a PC as a source for multimedia. My first attempt was with HD DVD and YXY software. I gave it up in favor of a stand alone [Blu-ray Disc] player due to many issues, both software and hardware. However despite how it turned out, it got me into HD video.

Given HD is based on a 1.78:1 frame, Scope films have to be Letter Boxed. A Letter Boxed image wastes approx 25% of the vertical rez on the black bars that preserve the Original Aspect Ratio. So when we scale for CIH we have no choice than to vertically stretch the 1920 x 810 image to fill the 1920 x 1080 panel.

When I read debates between the "zoom method" and using an anamorphic lens, it turns out scaling artifacts are the key reason to zoom. So the question is what if the source was true anamorphic?

The above image is the Letter Boxed image where the image itself uses about 810 vertical pixels. The remaining 270 vertical pixels are wasted on the black bars.

This image has been scaled at the source, so it now uses the full 1920 x 1080 pixels and therefore can be 1:1 pixel mapped on the display. When projecting the image this way, any possible Scaling artifacts my projector may be introducing are now removed.

I am using NVIDIA that came on the Note Book. To scale the image, right click the image>Pan & Scan>Fit to 16:9 TV. Of course it would be better if films came formatted at 2560 x 1080 or 21:9.

Mark

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MK 4 and MK5 ASTIGMATISM ADJUSTMENT

2010-03-01T11:22:00.011+10:00

Cylindrical Anamorphic Lenses like the Aussiemorphic Lens MK4 and MK5 have continuously adjustable astigmatism correction. This adjustment is made on the MK4 using the stainless steel cap screw in the front of the lens case. The MK5 has a focus ring that you turn by hand.

When you make the adjustment, the front lens moves in or out and allows the lens to be "focused" corner to corner. Only true cylindrical lenses have this adjustment and why they are superior to prism based lenses. The front lens of both the MK4 and MK5 moves forward when turning focal adjustment [shown with a red arrow] clockwise.

To achieve this level of clarity, you must:

Start with the Anamorphic Lens out of the light path and project an image that has single display pixel lines running in both horizontal and vertical directions and ensure the projector is level.
Focus the projector to be as sharp as possible with the lens out of the light path.
Add the Anamorphic Lens ensuring that it is centered in the light path.
The MK5 has the ability to rotate the barrel of the lens to ensure the image is perfectly level.
Adjust the Astigmatism Correction [cap screw for the MK4 or Focus Ring for the MK5]. DO NOT rock the projector's focus at any time during this adjustment.

When Astigmatism Correction is OUT

When the Astigmatism adjustment is not correct, only one plain will be in focus [typically the horizontal lines] at any one time. Note the vertical line is blurred and this affects the total image. You must find the point that bring both H and V lines into focus at the same time.

Correct Astigmatism Adjustment

When adjusted correctly, both horizontal and vertical lines will be in focus at the same time resulting in perfect image clarity corner to corner.

MK4 Rear Lens Alignment : DO NOT TAMPER

Each MK4 is aligned in the light path of a 1080 projector. Whilst the case [serial numbers 00001 ~ 00010] has adjustments for the rear lens, it is advised that you do not tamper with the lens setting.

Rear lens Alignment is OUT

Both images were taken before the Front Lens was installed. The image above is what happens when the Rear Lens is out of alignment and this prevents the lens from focusing. It must be aligned 100% vertically.

Properly Aligned Rear Lens

Only when properly aligned will the Anamorphic Lens be able to truly focus . This adjustment is not intended for end MK4 Lens users. Warranty is VOID if damage to the glass occurs as a result of tempering with these adjusters.

Mark

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Aussiemorphic Lens Shootout

2010-02-03T18:07:00.007+10:00

Since the CAVX Corrector has been developed, I have successfully run a small group buy [20 units]. I am hoping that more MK3 owners will contact me so that another group buy will be possible. I have been able to capture images that show the differences between the different levels of Aussiemorphic Lens. I decided to make this a 'shootout' between the three different CAVX Lenses so included the MK4 as well as the MK4 is really the reference level for the Aussiemorphic Lens Range.

A close up of the text in the centre of the image to hopefully allow more detail to be seen in the text.

So as you can see from the images, the Mk4 [left] is the best of the three and the MK3+C [right] is quite a step up from the stand alone MK3 lens [centre].

Mark

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The CAVX Corrector [Correction Element for the MK3]

2010-01-04T22:15:00.012+10:00

DISCONTINUED

The CAVX Corrector brings the MK3 Aussiemorphic lens into in the same performance level as the other two major prism lenses currently on the market, allowing pixel level clarity in its operating range.

The CAVX Corrector is supplied with a mounting kit for existing MK3 lens owners so that you can upgrade your image quickly and easily.

This quick screen capture shows the difference between the MK3 lens with [left hand side] and without [right hand side] the CAVX Corrector. The CAVX Corrector is cylindrical, so it won't change the image height, it just brings the image into focus. It will not deliver a level of performance equal to that of a true cylindrical lens like the Aussiemorphic MK5 anamorphic lens as it is still only a single lens and is not adjustable. However, whilst the screen cap may not show it, the image is pretty amazing from a lens costing less that half that of the MK4. If you own an MK3 and can not afford the upgrade to the MK5, then you seriously need to take a look at the CAVX Corrector.

With close to 150 MK3s now allowing HT enthusiasts to project CinemaScope images, if you don't already have this unit, now is the time to place your order.
If you would like to be a part of the initial CAVX Corrector launch, please feel free to contact me by email HERE.
[cavx01@hotmail.com]

Mark

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MK IV Screen Shots

2009-12-19T01:20:00.006+10:00

The MK IV is finally a reality.

The following images are real screen captures using both a bit map [CAVX Test Pattern] and still images. The photos used for my screen captures were originally 2560 x 1600, cropped to 2560 x 1080, then horizontally squeezed [H:0.75x V:0.0] to become true 1920 x 1080 anamorphic images. The images are therefore already scaled and can be used in REAL mode on the projector eliminating any possible scaling artifacts Mode 1 or Mode 2 Scaling might introduce.

Mark

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The New Projector Station

2009-11-10T22:45:00.009+10:00

To allow the Aussiemorphic Lens MK4 to be moved in and out of the light path 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.

This product is not going into production due to manufacturing costs.

Mark

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CAVX Aussiemorphic Lens MK4

2009-10-01T00:00:00.020+10:00

DISCONTINUED

The MK4 has now been replaced with the MK5. This page remains open simply for those interested in the history of the Aussiemorphic Lens.

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 and the supplied stand is even compatible with the GetGray Cineslide. The MK4 lens works at throws as short as 1.4:1 [tested].

The CAD 3D Model

The Real MK4 Lens

The MK4 lens has continuously adjustable astigmatism correction, so using the test pattern below, you can focus the lens to a pixel level of clarity and bring both Horizontal and Vertical lines into focus at the same time.

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.

THE AUSSIEMORPHIC LENS MK IV

The first MK4 was assembled today [19th December 2009]. Note the serial number of my lens :]

A little history about the CAVX Aussiemorphic lens:

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]
2010 MK3 CAVX Corrector is released.

To inquire about these products and current pricing, please email me HERE
[cavx01@hotmail.com]

Warranty: Limited 12 months.

Mark

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Screen Australia

2009-09-09T11:55:00.007+10:00

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

2009-08-04T23:33:00.031+10:00

When I first began this project, it started out as a free standing array of parts to create a HT in a townhouse I was renting at that time. In February 2010, I began construction of my 3rd dedicated home cinema. Whilst the room has been 'completed' for a few months, there are always 'tweaks' to be done.

The diagram above is a close representation of what the room looks like today. As mentioned above, the original design was a set of free standing components which could be set up in an existing room. Due to moving out of the unit and into a house, I was given the opportunity to build another dedicated room. I was on a very limited budget for this project, however the room has come together and looks and sounds very good. I've recently modified the laminated free standing surround arrays on the sides of the room and these now hang from the walls. I decided to keep the panels to match the one in front of the EQ Rack as I really like having a port for the projector.

Frame Construction

Construction of the room began whilst I was still leasing my unit. I've simply used 75mm x 35mm structural pine and made each wall a 'panel' so that it can be taken apart of modified (made larger?) in the future.

Sheeting, Painting and Sound Treating

The room had be "ready" for moving day [25/06/2010] and I only just made it about 3 days before the lease was up. The walls are actually made from 16mm MDF and then painted with Suede Effects "Pompeii Ash". I used a rubberized adhesive before screwing the wall/ceiling panels to the frame. And so far, no major rattles.

The sound treatments cover the full first 1/3rd of the room and half cover the remaining 2/3rds. At the screen end of the room, there is no slap echoes and this is exactly the result I wanted to achieve. The ONLY echoes I hear are part of the soundtrack :)

The Projector and MK5 Aussiemorphic Lens

A rethink to the design, the MK5 now adds improved alignment due to the ability to rotate the lens body. The new stand also features independent height and tilt adjustments.

The projector is currently the BenQ W5000 seen here with the Aussiemorphic Lens MK5. I will be upgrading to a W6000 soon and am contemplating a new JVC X3 for 3D. This is pending that I can find a solution to the current vertical stretch issue. I am sure projector manufactures will have this sorted before too long.

Surround Arrays and Seating

The former free standing side panels for the Surrounds have been cut down and are now wall mounted panels. The seating is arranged in two rows where the front row is just 2x the image height and the rear row [elevated 300mm] is 3.2x the image height. Whilst the front row is close, it provides a very wide viewing angle and is also the optimum seats row for the surround sound. The rear row used to be my preferred seating row for films, however the seats are actually behind the Left and Right Surrounds. Surround Sound still works because the Back Surrounds are behind the seats and therefore you are still in the sound field. When seated in the front row, you get the best of both sound and a very immersive picture.

The Curved AT Screen

I call this room the SRT. The room is small [SRT stands for Small Room Technology] at just 2500mm wide allowing the screen to be wall to wall. In order to keep the proportions staggered, I had to reduce the ceiling height. To assist with controlling reverberation, the front 1/3rd of the room's walls are fully treated with the other 2/3rds half treated. The room has total light control and because this room is decoupled from the house [free standing], assists with sound isolation. The colour scheme is neutral, black and grey.

The room itself is 5100mm long x 2500mm wide and 2000mm high. The AT screen Rig occupies 600mm of depth at the front of the room. The actual seating area is 3700mm and the balance is behind the false rear wall and serves at the equipment room.

UPGRADES:

Since the room has been completed I've made some upgrades which include new ACTIVE LCR speakers and the new Aussiemorphic Lens MK5.

Active LCR Speakers

Behind the AT screen is three identical LCR [Left Centre Right] speakers. The Speaker on the left is the new Active speaker which recently [23/11/2010] replaced the passive version [right].

Mark

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...Pimp Your Projector

2009-07-17T23:20:00.007+10:00

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

2009-06-02T18:13:00.009+10:00

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

2009-05-03T13:12:00.007+10:00

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

2009-04-01T18:05:00.021+10:00

DISCONTINUED

The CAVX Projector Station is now made of 6mm Aluminum Plate. Click HERE to learn about the latest version of this product.

Due to popular demand, the CAVX Projector Station is once again available to all that purchase an Aussiemorphic Lens. The Projector Station is now router cut from a 15mm industrial plastic 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, HD 550, HD750, HD950, HD990
[compatible with the new X Series projectors soon]
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

2009-03-05T19:44:00.009+10:00

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

2009-02-10T22:48:00.025+10:00

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 have added this page and will focus on the math needed for working out what I would like to call a "best practices method" of calculation for the screen size and seating distances in your room. This method work in every room.

1: 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. The actual number you use can be anything between 3.68 and 5.18 and where '4.43' is the middle and 4.5 is simply rounded up. Dividing the room's length by the chosen number gives you a screen height within an idea range for that room. Once you know your image height, you can easily work out both Seating Distances and Throw Ratio. The reason I choose to use the room length is that is generally a fixed value and it makes sense to work within the limits of the parts of the system [the room itself] that you generally can not change. For this example I am using 6m which is the length of a typical car port or garage [a room that is often retrofitted to be a home cinema].

1a: Room length of 6000mm / 4.5 = screen height of 1333mm

If you are planning on an AT screen, be sure you take into account the distance needed behind the baffle wall as this effectively reduces your room length.

1b: Room length 6000mm - [AT cavity] 600mm = new room length of 5400mm.

1c: New room length of 5400mm / 4.5 = new screen height of 1200mm.

2: 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 partially 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], but also because of the optical expansion of 1.33x anamorphic lenses on a 16:9 projector. The actual math requires the decimal point to be taken to at least 7 places.

2a: 1.3333333 x 1.3333333 = 1.7777777

2b: 1.7777777 x 1.3333333 = 2.3703702.

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

3: 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. SMPTE's preferred distance is 3x the image height and the THX 36 degree rule is 3.68x the image height and both fit within the 2x to 4x range.

3a: Screen Height of 1333mm x 2.00 = 2666mm [closest seating distance]

3b: Screen Height of 1333mm x 3.00 = 3999mm [SMPTE Preferred]

3c: Screen Height of 1333mm x 3.68 = 4905mm [THX furthest seating distance]

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

4: THROW RATIOS

The diagram above 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 have recommended 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 2 easiest ways to find the Throw Ratio and or Projector Mounting distance is to use the following math.

4a: Scope Screen Height x 1.78 x TR [in this case 2.2 = distance of projectors lens from screen.

Scope Screen Height of 1333mmm x 1.78 x 2.2 + 5220mm.

4b: Scope Screen Width x 0.75 x TR [in this case 2.2 = distance of projectors lens from screen.

Scope Screen Width of 3159mm x 0.75 x 2.2 = 5212mm.

The 8mm difference will not make any noticeable difference. Again, this page is an example and your individual projector may need to be mounted further back or closer. 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?

2009-01-14T23:12:00.005+10:00

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

2008-12-09T13:49:00.009+10:00

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. Whilst some HE anamorphic lenses are reversible [they also need to be turned 90 degrees or they will be a HC lens] to allow them to be used for VC operation, the throw must be sufficiently long.

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 image 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

2008-11-10T14:06:00.005+10:00

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

2008-10-31T13:56:00.024+10:00

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

2008-09-10T22:45:00.012+10:00

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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CEDIA 2008

2008-08-02T00:01:00.011+10:00

CEDIA [2008] is on again and on Friday the 1st of August, I headed down to the Gold Coast Convention Centre to check out the latest Big Boy's Toys on offer. Naturally, I was there to see what was on offer for CIH, but there was also many other new and exciting products on offer and many interesting things to see from speakers...

... to this 3 screen D-Box flight simuator...

...to the latest products like this 1080 3 chip DLP CIH solution from RUNCO, so there was something for everyone...

Being that I am right into CIH, I thought that I had better document some of the things I saw:

Schnieder made a huge presesnce this year with their entire range on display including their flagship, a 200mm monster seen behind the more commonly known 4" Cine-Digitar.

This massive lens was also being used in a very impressive HD3D system projected onto a curved Stewart Microperf screen. This is simply the best 3D I have seen to date, and can only hope this is the future of home entertainment...

Apart from some awesome anamorphic CIH, there was also Panasonic's "blended" systems from featuring these massive DLPs...

...producing a 2.66:1 image projected onto a 4m wide curved surface...

Or multi Plasma arrays which can configured to run either vertically [shown below] or horizontally.

There was actually more to see than I could possibly include here, and I only wish CEDIA was more of a Consumer Electronics Show [open to the public] like CES that they have in the US.

Mark

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The ISCO DLP CINEMA LENS

2008-07-11T13:41:00.007+10:00

I recently got to have a look at a Barco 3 chip DLP D-Cinema projector and admire a truly amazing piece of engineered hardware - the ISCO 1.25x stretch anamorphic lens that is used with this projector.

The lens is 1.25x stretch, not 1.33x because the projector's DLP chips are 2048 x 1080, not 1920 x 1080 as is used in HT. Therefore less optic stretch is required to reach the desired 2.37:1 image.

This lens is HUGE at 150mm across and it weights over 10KG...

Mark

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Looking towards a new HORIZON

2008-06-10T22:19:00.012+10:00

The HORIZON is an Australian designed and engineered anamorphic lens designed for Home Theatre Constant Image Height applications requiring 1.33x Horizontal Stretch.

HORIZON in front of a SONY WV60

This 4-element cylindrical lens design has fully corrected optics and with the focus adjustment, produces perfect focus in both the horizontal and vertical directions.

Screen shot of pixels

These captures are of the pixels of a 1080 projector taken from the bottom left hand corner of a 150" Scope screen. Each row of the vertical images is just one pixel (1.8mm) wide! Very impressive stuff...

Mark

PLEASE INQUIRE HERE

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Solid Cherry Home Theatre Seat Cup Holders

2008-05-25T22:51:00.003+10:00

http://www.hometheaterdiscussion.com/cupholders.html

These can be ordered by clicking directly on the link.

Mark

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MK3 Screen Shots

2008-05-01T11:50:00.014+10:00

Just a tease. Screen shots from the new MK3 using achromatic doublets [CA corrected prisms]...

Mark

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Benq SHOOTOUT

2008-04-16T23:21:00.009+10:00

With the recent purchase of my Benq w5000, questions were raised as to why it retails for so much less than the W20000. So I arranged to bring my projector to a HT that has served well for many SHOOT OUTS, including last year's Anamorphic Lens shoot out.

The Benq 1080 Projectors

My W5000 is on the lower shelf. Both units were fed the same signal through a HDMI 1.3 splitter from the Blu Ray Player. Before the shoot out, both projectors were calibrated to ensure fairness. The calibration charts for each are below.

I would like to say that whilst the W20000 did produce a slightly better image, there is nothing wrong with the picture quality of the w5000 and I highly recommend it for the budget conscious home cinema.

Mark

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BenQ W5000

2008-04-16T01:19:00.016+10:00

Whilst I have been into front projection since 2000, I finally have moved to True HD [1920 x 1080] by way of the Benq W5000 DLP projector. Whist this projector makes the $3000+ projector class at AVSForums, this unit is actually considered an entry level device, even though it shares the same chassis as the higher specs models from Benq. After some tweaking, I think it is also looking much higher end as well :)

EDIT: I have made numerous attempts at getting the calibration correct, and therefore have updated the charts. These are current as of August 30 2009.

The Benq W5000

Like the more upmarket Benq model [W20000], the W5000 now has manual lens adjustments for zoom and focus which I prefer to the previous motorized version. Whilst a motorized version is handy, I have always found that the "exact" position seems to be either one tooth too far or not enough. With a manual focus, you can rock the focus to get that precisely sharp image every time.

The new Benq projectors now have 2 HDMI inputs as well as all of the previous analogue ins from the older models. Benq have given this projector an extremely flexible motorized lens shift, so I have been able to shelf mount this unit at the back of the seating area.

Whilst this model has full ISF capacity, I have chosen to only adjust the USER settings. I used my colorimeter to take the reading as I made adjustments and have decided to post them here.

Luminance Chart

Both Contrast and Brightness are now correct. Previously, I had contrast too high which resulted in a slight peak to the top of the curve.

Gamma Chart

The reference for Gamma is 2.2 and yet this is not the best I have seen it since using this software. I think I more work to here :(

RGB Levels

Over all I am happy with the image, however this is also not as flat as I have seen the charts. I do think that I did have the offsets slightly better in a previous calibration, but considering the course steps these controls offer, and the fact that the other charts are looking very good, I am prepared to take it as is for the time being.

Colour Temp

Pretty close to D6500K, but this is actually slightly warmer than what I have been able to get in the past, so will keep tweaking I guess :)

CIE Diagram

I am almost at 500 hours and whilst not perfect, this chart is the closest it has been.

Apparently there is a setting in either the service menu or possibly the ISF mode that allows the exact co-ordinance of each colour to be entered in. How good would that look?

The measurements were taken from reflected light off my OzTheatre Screen that uses Acoustic Vision [AT fabric] with a 1.16 gain.

Mark

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CAVX - Official Plug -N-Play List

2008-04-01T11:17:00.013+10:00

TO BE UPDATED SOON

Mark

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Zooming Verses Using An Anamorphic Lens

2008-03-05T13:48:00.009+10:00

The subject of using an anamorphic lens in HT is often a hot topic of Home Theatre forums. Naturally I am pro lens, but there are those that believe the zoom method is better.

There are Pros and Cons for both but in the end I still prefer the lens for not only it's ease of use, but more importantly, the fact that I don't waste any vertical resolution when displaying Scope films. The following is a very quick and non scientific example of both full panel using a lens verse simply zooming the image to fill the screen.

Full Image Using Lens

Cropped Image LENS

The images above use the full panel of the projector and an anamorphic lens to allow a Scope image to be projected full screen without wasting precious vertical pixels. Whilst higher quality lenses would produce an even better image, generally you can not see pixel structure as the full panel is being used.

Cropped Image ZOOM

In this photo, the lens is removed, the projector set to 16:9 and the projected image is simply zoomed to fill the screen. This means that not only has vertical resolution being wasted on the blacks bars to preserve the film's aspect ratio, but those bars have now been projected off the top and bottom of the screen. The result is enlarged pixels both horizontally as well as vertically as only 75% of the panel is now used to make the same size image!

Disclaimer: The images are just a guide and in now way should be used to determine actual image quality from your video projector. The camera used to take these images was mounted on a tri-pod, white balanced for each shot, and exposure time set to 1.3.

The Anamorphic Lens used does not have focal elements, so the zoomed image may appear sharper at the edges. Because the projector was moved back to allow the zoomed shots, the throw ratio was changed causing a slight geometry shift, and this may be seen when opening each photo in a different window. This is also due to the fact the the screen is curved for the lens, so projecting a zoomed image actually creates a"barrel" effect.

Mark

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MY HD COLLECTION

2008-02-29T21:02:00.171+10:00

UPDATED 25-Dec-2011. This is my HD Video and Hi-Rez music page. I so love 1080/24P and Lossless Audio. The lists start with my Blu-ray Disc collection, then my DVD-Audio discs, then Super Audio Compact Discs. I've included my DTS CDs on here as well even though DTS is compressed at about 4:1, it is 20BIT and multi-channel.

Blu-ray Disc

12 Monkeys *
300
2001:A Space Oddyssy *[2.20:1]
A Bugs Life
Alien
Aliens *
Alien 3
Alien Resurrection
American Physco
The Ant Bully*
Armageddon
Australia
AVATAR*
The Aviator
AVP: Alien Vs Predator
AVP2: Requiem
Back To The Future *
Back To The Future Part II *
Back To The Future Part III *
Baraka * [2.20:1]
Basic Instinct
Batman Begins
The Blade Runner : The Final Cut
Black Hawk Down
Bolt *
Braveheart
Cars
Casino Royale
Cliff Hanger
Close Encounters Of The Third Kind
Cloverfield *
Commando*
Contact
The Cronicals Of Riddick:Pitch Black
The Cronicals Of Riddick
Dare Devil: Director's Cut
Dark City
The Dark Crystal
The Dark Knight
The Day After Tomorrow
Days Of Thunder
Die Hard
Die Hard 2: Die Harder
Die Hard With A Vengeance
Die Hard 4.0 [AKA Die Hard Live Free]
Dirty Dancing *
Dragon Wars **
Enter The Dragon
Eraser
Fantasia *
Fantasia 2000 *
Fantastic 4
Fantastic 4: Rise Of The Silver Surfer
Fearless
The Fifth Element
Fight Club
Flash Gordon
Ghostbusters
Grease
Hancock
Happy Feet
Heat
Hitch
Hollow Man *
House Of Flying Daggers
I Am Legend
I, Robot
Il Divo: An Evening With
Inception
The Incredibles
The Incredible Hulk
Independence Day [ID-4]
The Island
The Jackal
Jerry Maguire *
Joe Kane Productions:Digital Video Essentials-HD BASICS *
Jumper
Jurassic Park *
Jurassic Park 2 : The Lost World *
Jurassic Park 3 *
Kelly's Heros
Kill Bill Vol. 1
Kill Bill Vol. 2
King Kong [2005]
Kings Of Leon: Live At The 02*
Knowing
Kung Fu Panda
Last Action Hero
Lethal Weapon *
The Lord Of The Rings - The Fellowship Of The Ring - Extended Edition**
The Lord Of The Rings - The Two Towers - Extended Edition**
The Lord Of The Rings - The Return Of The King - Extended Edition**
Mad Max 2: The Road Warrior
The Matrix
The Matrix: Reloaded
The Matrix: Revolutions
The Matrix: The Anamatrix
Miami Vice
Minority Report
Mission Impossible
Mission Impossible 2
Mission Impossible 3
Monster House
Mr. & Mrs. Smith
The Never Ending Story
Ocean's Eleven
Pearl Harbor
P!NK: Funhouse Tour*
Pirates Of The Caribbean: Curse Of The Black Pearl
Pirates Of The Caribbean: Dead Man's Chest
Pirates Of The Caribbean: At Worlds End
PIXAR Shorts *
The Polar Express
Predator*
Predator 2*
Push
Quantum Of Solace
Rambo:First Blood
Rambo:First Blood Part 2
Rambo III
Rambo: Reloaded Edition
Ratatouille
Rio
Robocop*
The Rock
RockNRolla
Rocky*
Rocky II*
Rocky III*
Rocky IV*
Rocky V*
Rocky Balboa*
Serenity
Se7en
Seven Pounds
Shooter
Signs *
Sin City *
Snatch*
Star Trek [2009]
Star Wars Episode 1: The Phantom Menace
Star Wars Episode 2: The Attack Of The Clones
Star Wars: The Clone Wars [motion picture]
Star Wars: The Clone Wars [TV series, season 1]
Star Wars: The Clone Wars [TV series, season 2]
Star Wars: The Clone Wars [TV series, season 3]
Star Wars Episode 3: Revenge Of The Sith
Star Wars Episode 4: A New Hope
Star Wars Episode 5: The Empire Strikes Back
Star Wars Episode 6: Return Of The Jedi
Starship Troopers *
Stealth
Superman Returns
S.W.A.T.
Swordfish
Taken
Tango And Cash
Terminator 2: Judgment Day [Sky net Edition]
Terminator 3: Rise Of The Machines
Terminator Salvation
THX: Calibrator *
Total Recall*
Toy Story *
Toy Story 2*
Toy Story 3*
Transformers
Transformers 2: Revenge Of The Fallen
The Transporter
Transporter 2
Transporter 3
Troy : Director's Cut
Twister
Unbreakable
Under Siege*
WALL.E
Wanted
Watchmen
The Water Horse: Legend Of The Deep
WOW: World Of Wonder * [Varying Aspect Ratios]

KEY:
[* = films not presented in CinemaScope 2.35:1 to 2.40:1.]
[** = CinemaScope films with subtitles in the black bars.]

HI-REZ AUDIO

Bon Jovi - Slippery When Wet
Bon Jovi - Have A Nice Day
Carl Orff - Carmina Burana
Linkin Park - Reanimation
Metalica - The Black Album
Pink Floyd - Dark Side Of The Moon
Seal - Best
Britney Spears - Into The Zone

Balalaika Favorites [3ch]
Beck - Sea Change
Bon Jovi - This Left Feels Right
Celine Dion - A New Day Has Come
Dire Straits - Brothers In Arms [hybrid]
Jeff Wayne musical - The War Of The Worlds [hybrid]
Pink Floyd - The Dark Side Of The Moon [hybrid]
Roxy Music - The Best Of [2ch]
Tchaikovsky - 1812

Belinda Carlisle - A Woman And A Man
Bonnie Raitt - Road Tested
Boyz II Men - II
Debussy - Fantaisie For Piano And Orchestra
Marvin Gaye - Forever Yours
Pavarotti [and Freinds] - For War Child
Shoeless Joe - Self Titled
Sampler - DTS Digital Surround Demo and Test Disc
Sampler - Telarc DTS Sampler
Soundtrack - Titanic

Mark

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B STOCK LENSES FOR SALE

2008-01-22T10:49:00.009+10:00

SOLD OUT

Those that have followed the development of the Aussiemorphic Lens since 2005 will know that the Aussiemorphic Lens started out as a personal DIY project and grew into something much more...

I recently received a shipment of prisms that I can not sell as MK II elements and am therefore offering DIY/HT enthusiasts a chance to make their own affordable anamorphic lens.

NON COATED PRISMS

For lack of a better word, theses prisms are perfect and not really B stock at all, but none of them have the optic anti-reflective coating that has made the MKII what it is today. Therefore I am offering the lens go at well below the RRP of $583.00ea of the MKII just to clear them out. This is great opportunity if you have previously not been able to afford an anamorphic lens and want to get into CIH.

Mark

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CAVX CALIBRATION SERVICES

2008-01-08T15:49:00.009+10:00

In 2008 I added a colorimeter to my calibration tools to allow more accurate video adjustments for the purpose of video perfection. Good looking video requires that the display be set to D6500K, however very few displays are set to this at the factory with many well above this level resulting in inaccurate image quality and colour fidelity.

The colorimeter is PC based and generates it's own HD test signals which are fed directly to the display via HDMI. A sensor measures the screen that is displaying the patterns. Once initial readings are taken, the video display can be adjusted to get much closer to video perfection or D6500K. Printouts of "before and after" of your display can be sent to you if requested as a bitmap.

Before

After

This tool can be used for all types of displays including FRONT PROJECTION, PLASMA and LCD TVs. The difference needs to be be seen to be believed!

As SOUND is still 50% of the HT experience, I also offer audio calibrations as a part of this service.

The following charts are of my own system (DLP projector) showing what your system can and should look like.

LUMINANCE

GAMMA

RGB LEVELS
COLOUR TEMP

I am now offering this service to all HT owners in the South East of Queensland from the Sunshine Coast to the Gold Coast. If you don't understand what D6500K means, sorry, you're just not getting the picture...

The fee for this service is $330.00 including GST.

You can book on line HERE

Use cavx01@hotmail.com if the email link above is not working.

Mark

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Custom Scope Installs

2008-01-08T14:29:00.001+10:00

The following is brief highlight of some of the custom work I did at the end of 2007 in bringing CIH to my clients. Both of these systems are installed in multi purpose rooms, so will never be dedicated HTs, but it still shows what can be accomplished with some careful design.

In both instances, the clients wanted the biggest, widest screens they could have within the their room. Therefore I used the room design formula to calculate maximum screen sizes, optimal seating distances and best speaker locations. I also had to engineer custom projector mounts and a custom screen mount.

PROJECTOR STATIONS

The PROJECTOR STATIONS are made to provide a neat cosmetic look that is also functional and practical. When using an anamorphic lens, the mount needs to be able to support the extra weight, so traditional "pole"mounts usually fall short of the requirement and the PROJECTOR STATION is really the only answer.

The AT SCREENS

Both systems used Oz Theatre Screen's Acoustic Vision (acoustically transparent screens) allowing the speakers to be hidden behind the screen. Whilst one system employed TRIAD in-wall speakers, the other system used conventional "boxed" speakers from DALI and a custom solution for mounting them had to be engineered.

A Custom Screen Mount

The DALI speakers used in this install are 220mm deep (not including the front grill), so I have taken advantage of the wall cavity to help hide some of their depth as well as allow wiring to the equipment plate underneath without having to cut the timber that makes up the wall frame.

Custom Wall Plates

I moved away from the commercially available wall plates for a few reasons. None of the mainstream products supported 7.1 so I engineered a plate that supports both audio and video and have added a black plate for any "future" upgrades.

Acoustic Treatments

Acoustic tiles are used around the speakers to help reduce reflections from the back of the screen fabric back onto the baffle or wall. This treatment is an integral part of the THX Baffle used in their certified dubbing stages and cinemas.

CALIBRATION

No system is complete without calibration of the Audio Visual components. Video should run at D6500K and the Audio should play back at +75dB per channel at -30dBFS.

The Look Of Perfect

I have recently added a colourimeter to my CALIBRATION tools to allow more accurate video adjustments. The goal of all video displays is to display grey at D6500K. I am now offering this service to all HT owners in the South East - Sunshine Coast to the Gold Coast.

You can book on line HERE

Mark

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An Anamorphic Lens Shoot Out

2008-01-01T23:15:00.000+10:00

One of the most frequently asked questions I get about the Aussiemorphic Lens is - How does it compare to the other commercial offerings? In an attempt to answer this, I recently had the opportunity to compare the Aussiemorphic Lens against the two leading prismatic lenses. Whilst the following is in no way scientific, the results are quite surprising.

The most important thing to remember here is that the Aussiemorphic Lens is marketed as a DIY kit, and that it is only a 2 element lens where the other 2 units in this "shootout" feature 5 elements and are corrected for both CA and focus.

The following images have been captured by my Fujifilm S5600 digital camera that was mounted on a tri-pod. The camera was white balanced and shutter speed reduced to capture an image without a lens in front of the projector, set and not altered in any way thereafter. The timer was used to ensure no motion blur occurred during image capture. The image source is Bru-ray Disc projected by a Sharp Z10000 720 DLP projector with a throw ratio of 2.5:1 onto a 3m wide 2.35:1 screen.

AUSSIEMORPHIC LENS MK II

PANAMORPH UH380

PRISMASONIC FE-H1400R

The Three Lenses Used

On the left is the Prismasonic FE-H1400R, in the centre is the Panamorph UH380, and on the right is the Aussiemorphic Lens MK II.

Mark

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AUSSIEMORPHIC MK3

2007-12-24T19:07:00.046+10:00

DISCONTINUED
The Aussiemorphic MK3 Lens with CA correction
is now available in black and white

The Aussiemorphic Lens MK3 is a complete redesign and features a compact plastic case and superior optics. The new optics are corrected for Chromatic Aberrations, are polished to a true optical surface finish and feature improved optic anti-reflective coatings. The prisms in this new lens are far superior to the previous model MKI and II. The new plastic case now features a height adjustable stand.

The screen shots from the new Achromatic (CA Corrected prisms) Doublets can be seen HERE.

To inquire about this product, please use the email link HERE

[cavx01@hotmail.com]

To order this product, please use the email above.

The "CAVX Corrector" is now available and is included with all MK3 lenses as of 2011.

Returns: Should you experience a problem with the MK3, we will gladly work with you to resolve any issues or concerns that you may have. If the product is generally faulty, it will be replaced at our discretion. However if you decide that you simply want a refund because you changed your mind, you will be charged a 15% restocking fee and you must pay your return postage.

...Pimp Your Projector

Mark

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Another Look At Blu-ray Disc And HD DVD

2007-11-02T19:37:00.004+10:00

What A Perfect Match!

The Aussiemorphic Lens MK II in front of the Black Pearl [SONY VPL-VW60]. The 1080 SONY VPL-VW60 features a mode called "Anamorphic Zoom" making it a perfect for CIH.

CIH in HD @ 3.5 Meters Wide!

The owner of this system said that the Aussiemorphic Lens MK II was the best bang for buck accessory he has added to his HT. The image is sharp and clear and now 3.5m wide using an Oz Theatre Screen, making it the 2nd largest CIH in the state.

DISCONTINUED

Mark

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SOUNDFIRM at FOX Studios Sydney

2007-11-01T09:26:00.000+10:00

In 2002 I was given the opportunity to visit the studios at SOUNDFIRM at FOX Studios in Sydney. The original tour was supposed to take about 20mins, but extended out to over 2 hours. I felt quite privileged to see behind the scenes of a THX certified audio post production facility that has turned out some pretty impressive soundtracks such as THE MATRIX and ROBOTS, so decided to re-visit the studio to discuss possible changes in the industry.

Main Dubbing Stage And Screen

You can not see the full console in this shot, but there is three multi-track mixing desks all linked. In 2002, I got to see the mixers at work. It was very interesting watching the automated slides moving whist the sound mixers added in more tracks. Note the extensive room treatments on the left.

The Mixers watch a digital projected image of the film and make their audio decisions based on what they feel is most appropriate for the on screen visuals. The screen is Acoustically Transparent and the LCR speakers are placed behind the screen for the best sound to image match.

The Back Of The Room

The seating at the back of the room is for the producers to view their work during post production. This stage uses surround arrays (Krix speakers) to emulate the sound heard in an actual cinema so that both producers and mixers will know how the film will sound during its exhibition run.

A New Age Mixing Console

This might just be the future of Multi channel audio. This console was designed by engineers that work in the facility and can be networked to pretty much every existing system in use today. The "arc" across the top is actually an LED display of the number of audio channels that this desk can mix.

FOX Studios sees the market potential for re-mixing film sound for the HD formats, and that work might very well be done on smaller scale studios using a console like this one.

I would like to thank Bruce Emery for his time and for allowing me to document my visit.

Mark

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A New Collection Of Screen Shots

2007-10-01T19:55:00.003+10:00

All the above images were captured using a FUJIFILM S5600 [5.1M] digital camera set to RAW. The images were then converted to JPEG for uploading here. The projector used was my BenQ W5000 with my Aussiemorphic Lens MK4, projecting onto my curved Scope Screen with SmX [Acoustic Transparent] fabric. The projector had recently been calibrated to 6500K with a colorimeter and the new THX CALIBRATOR Blu-ray Disc.

Mark

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