In This eNewsletter:
• Do You Need a Custom Installer? by Thomas J. Norton
• DTS Gets Into Video by Scott Wilkinson
• And the Award Goes To . . . by Scott Wilkinson
• Hot DVD: Ray by Thomas J. Norton
• Back to School by Scott Wilkinson

By Thomas J. Norton

The custom-installation business is becoming an increasingly important slice of the consumer-electronics pie. At his company's press conference at the recent CES, Jim Thiel of Thiel Audio noted that 80% of his dealers do 50% or more of their business in some form of custom work.

Some slice. More like the pie that's keeping the baker in business. As much as audiophiles (like me) might lament the amount of time manufacturers must take to design for this market—for example, extensive multiroom features on surround controllers and receivers, in-wall and on-wall speakers—instead of concentrating exclusively on improving the audio or video performance of their products or making the same performance available at lower cost, the siren-call of custom install isn't going to end. The market is simply too large to ignore. Hopefully, the smartest companies will fold some of their profits from this side of the business back into R&D on the things that matter to their loyal, audio enthusiast customers.

But suppose you feel the need for a custom installer. Where do you begin?

The place to start is with yourself. Make a list of everything that you want, and everything you can think of that might impact the design or cost of the project. Take your time with this. Do you want a theater-like environment with multiple rows of seats facing a big screen? This is the sort of installation you see featured most often in magazines, and it largely restricts the room to one purpose: electronic entertainment. Or do you want a more informal, media-room environment? This sort of setting lends itself to other purposes, like reading a book, entertaining friends with something other than a movie, working on other hobbies, or simply the ever-popular vegging-out on the couch.

Is the room you plan to convert to a home theater an existing space or an addition? You'll get the best results if you coordinate with the installer before you do anything to that current room or finalize your building plans for a new one. General contractors usually haven't a clue as to what constitutes a good space for audio or video. To take the most obvious example, consider the issue of sound isolation between the home theater and other rooms. A general contractor's idea of sound isolation is likely to be insulation in the walls—a largely ineffective solution, particularly with 110dB bass peaks. And like most people, contractors often confuse sound damping inside a room with sound isolation between rooms. They are entirely different issues.

You also need to think about the sort of capabilities you want in the system. Will it be a multi-room installation or just the best home theater space you can afford? These are very different specialties. There are many installers adept at both, but you shouldn't automatically assume this to be true. Do you want the ability to easily access any DVD or CD in your collection from the comfort of your easy chair? This is definitely possible, but bring money. Do you insist that all the gear be hidden, or do you want to show it off? The latter has performance implications; for example, free-standing speakers nearly always perform better than similarly-priced in- or on-wall models.

Do you want fancy powered drapes and a screen that automatically adjusts for different aspect ratios? And how big a screen do you want? A very big screen—larger than, say, 96-inches wide (110 inches diagonally)—brings with it significant price and performance considerations. If your neighbor has a 12-foot-wide screen and yours is 7 feet wide, there's a very good chance that the pure quality of your picture is better, and/or his setup cost twice what yours did—or more. The size of your screen also determines your seating arrangement.

This is by no means an all-inclusive list of things you must consider; the point is that no installer can give you a good price estimate unless he or she knows what you want. You can be sure that any installer will suggest options you may not even be aware of, but just as in buying a car loaded with extras, consider such recommendations carefully before leaping—particularly if your budget is limited.

In the end, it does come down to the size of your wallet or the approving gaze of your bank's loan officer. But don't be afraid to check out a custom installer even if you have a modest budget. They can often provide valuable services short of a complete install: hanging screens and projectors, calibrating video displays, routing wires through walls for surround speakers and other requirements, arranging to upgrade your electrical service and adding new circuits, installing motorized drapes, and analyzing your proposed space, possibly recommending acoustical treatment for audio or how you can black-out the room for the best video performance. Various types of contractors can perform many of these services, but they typically won't know a thing about high-performance audio and video.

There are several types of experts in the custom-installation field. Installers often do their own design work, but sometimes they rely on outside designers who specialize in audio/video rooms, folks like Ultimate AV contributors Russ Herschelmann and Keith Yates. These designers work with you to draw up detailed plans, then hand the project over to an installer. They may also monitor the installer, architect, builder, and anyone else involved in the project to insure that their plans are being followed properly.

Then there are installers who operate storefronts and sell AV products to walk-in customers. Often, they encourage the use of these products in their installations. Some installers are exclusively devoted to custom work; that is, they may have an office and possibly (though not always) demo rooms, but they only deal with customers contemplating a professional custom installation. They may or may not have ongoing relationships with specific manufacturers. You should keep this in mind if you plan to use existing equipment for some or all of the system. Reputable installers will accommodate you on this, though don't be surprised if they point out that one or more of your beloved components may not be the best choice for the new application.

To find an installer in your area, a good place to start is CEDIA (the Custom Electronic Design & Installation Association, [800] 669-5329), an organization that numbers many, if not most, custom installers among its members. You should also seek out local recommendations and referrals. As in any field, some practitioners are better than others. But with CEDIA as a source, and some local legwork on your part, you'll be off to a good start.

Even before you sign that all-important contact, take care to define, in writing, the relationship between yourself, the home theater installer, and others who may be involved in the project. You should always have a direct line of communication to the installer. I've spoken to installers who've lived through the nightmare of dealing only with the interior decorator, for example, with no access to the owners. Similar problems could arise with the architect or the contractor doing the construction work. Lack of communication is a recipe for disaster, particularly if you are truly interested in the audio and video quality of the installation. All parties must be able to talk to each other, and should meet together early and often to be sure that everyone understands the plans and any changes that may have been made to them.

Many inexperienced buyers assume that if the project costs an arm and a leg it will inevitably sound and look fabulous in the end. Sadly, that doesn't always happen. Sadder still, many of these customers are often thrilled with the finished project simply because the picture is big and the sound is loud. What they don't know is that they aren't getting their money's worth. The irony is that the more you know about good audio and video, the more likely it is that you'll find a good installer, keep things on track, and end up with a system that's a true joy. Since you are reading this eNewsletter, and (we hope) you're a regular visitor to untimateAVmag.com, you very likely fall in this category. That's a good start.

By Scott Wilkinson

Digital Theater Systems, more commonly known as DTS, made a bold move last month with the acquisition of Lowry Digital Images (LDI), a privately held company that specializes in moving-image restoration and enhancement. Of course, DTS is well-known for providing digital audio data-compression technologies to the theatrical and consumer markets, and they can now extend their domain into the visual arena, allowing them to offer a more comprehensive package of entertainment services.

Founded by John Lowry in 2000, LDI restores and prepares feature films for release in various formats, such as DVD, broadcast television, and IMAX. One of the company's most celebrated achievements is their work on the recently released Star Wars trilogy on DVD. That project took over a month and occupied more than 600 Macintosh dual-processor G5 computers with a total of over 2.4 terabytes of RAM and 478TB of hard-disk storage. LDI's patented software was essential in digitally removing dirt and scratches from the master reels, which are now over 20 years old; the first Star Wars movie is almost 30 years old!

DTS paid approximately $11 million in cash to acquire all outstanding LDI shares, and LDI is expected to generate revenues of about $10 million in 2005. According to Lorr Kramer, DTS VP of technology strategy, "LDI is a company that knows a lot about digital moving-image processing, and what they do is a valuable addition to our business. They are certainly profitable, and we can help them grow more. And of course, part of the strategic motivation to acquire LDI goes beyond their current activities to what we hope will be further technology synergies."

Interestingly, this is not the first foray into video taken by DTS: About a year ago, the company introduced the XD10 Cinema Media Player, a hard-disk server that includes video capabilities. Its primary function is to store up to 30 feature films' worth of soundtracks from the CD-ROMs that DTS distributes to commercial cinemas along with the corresponding movies. The soundtrack is played in sync with the film's timecode, just as it is with the CD-ROM players now used with most DTS-encoded movies. The XD10 can also store video material, though its hard disk isn't large enough to handle digital-cinema files; for now, it is used to play the so-called "pre-show" material (ads, promos, etc.) from an LCD projector in the booth. A plug-in video card provides DVI and VGA outputs, which can be upgraded in the future if necessary.

With the purchase of LDI, DTS can now go far beyond such applications. What might come from this collaboration remains to be seen, but it's a sure bet that DTS will significantly expand its position as a worldwide leader in entertainment technology.

By Scott Wilkinson

February is a big month for awards, with two major ceremonies on deck, both broadcast in HD. First up is The Recording Academy's Grammy Awards on Sunday, February 13, at 8 PM (ET/PT). CBS will broadcast the event in 1080i with Dolby Digital 5.1 audio from Staples Center in Los Angeles. The program will be shown live (well, almost live; there will be a "decency delay" thanks to Janet Jackson) on the east coast and delayed by three hours on the west coast.

Among the highlights will be Jennifer Lopez and Marc Anthony performing together for the first time, as well as performances from the likes of Green Day, Alicia Keys, Tim McGraw, and U2. A tribute to Ray Charles featuring Bonnie Raitt and Billy Preston should bring a tear to everyone's eyes.

In addition, there will be a special live performance of "Across the Universe," which viewers will be able to download from iTunes for $0.99; the video will be available from CBS.com. All proceeds from these sales will go directly toward tsunami relief efforts. Performers scheduled to participate in this segment include Bono, Stevie Wonder, Norah Jones, Alicia Keys, Velvet Revolver, Tim McGraw, and Brian Wilson.

Then, on Sunday, February 27, the 77th Annual Academy Awards will convene at the Kodak Theater, located in the heart of Hollywood, California. Hosted by comedian Chris Rock (his first stint in this role), the star-studded gala will be broadcast live (with decency delay) in 720p on ABC.

The network would not reveal just how many HD cameras will be used, but most will be Thomson LDK 6000 Worldcams that capture in 720p. As a result, the broadcast signal will have to suffer no conversions from other resolutions, which should make for a spectacular image on 1280x720 digital displays. The signal will be encoded in MPEG-2 and transmitted to the network in New York at 44.736Mbps, where it will be processed for broadcast. The audio will be Dolby Digital 5.1.

According to ABC, the Academy Awards show has more pre-production elements than any other program they broadcast, and they use only the highest production techniques to make it as spectacular as possible. When asked why the network chose 720p over 1080i as their HDTV format, they replied, "We believe that 720p makes the best possible pictures, and it will allow us to be ready for the multimedia opportunities of the converged world of computing and television."

By Thomas J. Norton

Jamie Foxx, Kerry Washington, Clifton Powell, Harry Lennix, Terrence Dashon Howard, Larenz Tate, Richard Schiff, and Regina King. Directed by Taylor Hackwork. Aspect ratio: 1.85:1 (anamorphic). Dolby Digital 5.1 (English and French). 153 minutes (theatrical cut). Universal. 25944. PG-13. $29.98

Picture ***
Sound ***
Film *** 1/2

With all of the attention this film has garnered to date, not to mention a bushel of awards, you're no doubt aware by now that it's a biography of the late Ray Charles, a legend in the world of music long before he died just prior to this film's release.

Anchored by the astonishing performance of Jamie Foxx as Charles, the film digs into the triumphs and tragedies of the musician's life. According to the film, Charles (born Ray Charles Robinson) is saddled at an early age by guilt over the drowning death of a younger brother. By the age of seven, he's blinded by an unspecified condition (probably aggravated by poor medical care). Egged on by an ambition born out of these hardships, along with a supportive, strong-willed mother and other drives we can only imagine, he learned to play the piano at an early age. Further blessed by a remarkable musical talent that crossed over into a variety of genres—jazz, blues, gospel, and his own unique take on country—he went on to a successful career that lasted over half a century.

But, as implied in the film, his nagging guilt, combined with possible frustration over his blindness, led to a heroin addiction that threatened to destroy him. He beat it, from all accounts, by the late 1960s. But he never beat his promiscuous nature, and the way in which both addictions wounded his long-suffering but loyal wife are treated unflinchingly. Charles was clearly not the most admirable of individuals in his personal affairs, and far from a good role model for young people who may be drawn to this PG-13 film. Apart from his addictions, the film also suggests that he readily abandoned loyalty to others when it suited him or promised to further his career.

But it's his music and the performance of Jamie Foxx in the title role that makes Ray one of the best films of the year. Foxx is Ray Charles, and he's virtually a shoe-in for an Oscar, even if the film itself isn't. (It probably won't win—there are at least two other formidable contenders: Million Dollar Baby and The Aviator. See my Viewpoint on our Web site this month for more on the current Oscar race.)

Interestingly, it's the voice of the real Ray Charles that we hear in the film's many musical numbers. And those sequences are terrific, though they're often cut short or broken into for other bits of dramatic business just when they're getting warmed up. This is a problem that often afflicts musical biopics—see last summer's less successful De Lovely, a biography of composer Cole Porter, for another example. Two of the numbers in Ray, however, are included in their entirety in the bonus features.

The video transfer is very good, with crisp images, no obvious edge enhancement, and good shadow detail. If the colors appear just a little pale, that seems to be the way it was photographed. But I missed seeing the movie during its theatrical run, so I can only say for certain that the photographic style seems appropriate for the film's story and mood.

There's one problem that severely impacts one of the movie's best bonus features. As advertised, you have a choice of watching either the theatrical cut or an extended version. The latter stitches in 25 minutes of deleted scenes. And "stitched" is the appropriate word. Not only are the added scenes non-anamorphic in an otherwise anamorphic transfer, but they are often of mediocre quality and inserted with very rough edits. Most video displays will not switch automatically between anamorphic transfers (enhanced for 16:9) and non-anamorphic ones (ordinary letterbox) on a widescreen display using a component or digital (HDMI or DVI) input. So what you end up with in this case are crude transitions throughout the extended cut from a good image to a mediocre, squeezed one. I found this so annoying that after 15 minutes I switched to the seamless theatrical version.

Fortunately, those deleted scenes are also available separately as bonus features. And unlike most such cut scenes, they really do add a lot to the narrative. In particular, Charles' drug taking and womanizing are treated much more starkly in these scenes (not to mention a scene featuring much stronger language than you'll hear in the theatrical cut). I suspect that an extended version of the film would have been rated R. Perhaps one day we'll get a special edition that inserts these scenes into the original, this time with smooth edits and correct aspect ratios.

The sound on this disc isn't stunning, but it always gets the job done, with the main attraction, of course, being the music. The main disappointment is in the two musical numbers that are presented in their entirety as extras—the sound of these segments is noticeably worse than in the abbreviated numbers in the film itself.

In fact, for both bits of carelessness—the mixed and uneven quality in the extended cut and the inferior sound on the complete musical numbers in the extras (also non-anamorphic, by the way)—I've subtracted an additional half star from the picture and sound ratings.

Other features include an audio commentary by director Taylor Hackford, theatrical previews, and two features: "Stepping into The Part," showing Jamie Foxx preparing for the role, and "Ray Remembered," with friends and fellow musicians remembering the man and musician.

For those who want even more, a two-disc Limited Edition Gift Set is also available for $44.98. This adds an in-depth interview with Hackford and his producing partner Stuart Benjamin, discussing their 15-year effort to get this film made, and seven additional uncut musical performances (an annoyance for those of us treated to only two in the standard edition).

Does the movie rely on the standard biopic clichés, a criticism leveled on it by those few critics who panned it? Yes. But even though I was never really a fan of Ray Charles, I got caught up in this movie. It deserves all the acclaim it has received—and more.

By Scott Wilkinson

As Tom Norton points out in this month's "Editor's Hot Tip," CEDIA (the Custom Electronics Design and Installation Association) is an excellent resource for consumers who want to find a qualified professional to install a home theater or other home electronics. Why is it such a good resource? Because CEDIA has a long history of training and certifying installers to meet the organization's high standards.

In an effort to improve that training, CEDIA University was launched last month. According to Scott McCormick, CEDIA's director of curriculum and learning, "The idea of CEDIA University redefines the concept of education to not only include training and certification in a coordinated effort, but to also include the total package experience to prepare an individual to perform and grow in the industry."

Over the past two years, CEDIA has organized its training programs into five content areas, or "tracks": Electronic Systems Technician, Designer, Project Manager, Business, and Customer Relations. Each track includes core courses and various electives designed to provide the training required to assure a high level of competency. These tracks will be consolidated under the CEDIA University umbrella in order to better coordinate and administer them.

The first track to be offered through CEDIA University is Electronic Systems Technician (EST), which is being designed with the help of Briljent, an instructional design company, in conjunction with so-called subject-matter experts. The first four classes in the EST program are Job Site and Electrical Safety, Introduction to Codes and Standards, Electric and Electronic Applications, and Intro to RF.

The next track to be developed is Electronic Systems Designer (ESD), which, says McCormick, "focuses on skills for a designer and technician wanting the essential fundamentals and in-depth knowledge required to design key residential subsystems. Such subsystems can be whole–house audio, video, telephone, security, lighting, and networking. From conceptualization to design, installation, integration, and calibration, this track offers answers to those just developing their skills as well as masters who want to keep up with the latest trends."

All CEDIA University courses will be offered primarily at the annual Expo convention in September, but many courses will also be offered at the organization's regional events. Other courses, such as EST Boot Camp and Project Management Boot Camp, will be offered throughout the year at the CEDIA Training Center in Indianapolis. For more information on available courses and costs, visit CEDIA's Web site.