During a gala event last night at Ken Cranes Home Entertainment on the tony west side of Los Angeles, LG Electronics hosted the launch of its long-awaited 71-inch plasma display, the MW-71PY10. As the press handout states, it's the first plasma you can speak of in feet, not inches (they should have made it an even six feet—what's an itty bitty inch among friends).
The weekend before last, I drove to Newport Beach, CA, for the second iteration of The Home Entertainment (T.H.E. Show), Newport Beach, or THESNB. (Just kidding on the latter, though the full name is a bit cumbersome.) Last year's installment was fun but a little thin on exhibitors. This year, the show was so much bigger that it had to spread out from the main venue of the Hilton Hotel to the Atrium Hotel next door. If I had known it was going to be so big, I would have arranged to spend two days there instead of simply making it a day trip.
On July 11, LG Electronics launched its latest 4K Ultra HDTVs at the Video & Audio Center, a major electronics retailer in Santa Monica, CA. The new LA9700 series includes two models, at 55- and 65-inches (diagonal) and selling for $6,000 and $8,000, respectively.
The video world woke up last Friday to the news reports that Pioneer Electronics, long a leader in consumer video display technology, was getting out of the video display business. At first, the reports did not come from Pioneer itself, but rather from news agencies (first in Japan, later overseas) that put two and two together and concluded that they really did equal four.
It all starts with the mother glass. That's the foundation for building an LCD panel. Everything else—the individual red, green, and blue elements of each pixel and the interconnects necessary to drive them—are grown on it.
Last time I mentioned a letter from a reader asking me to recommend great movie theaters he should check out on a visit to Los Angeles. I also suggested that out-of-towners visiting The Big Orange for our upcoming Home Entertainment 2006 show on June 2-4 (you are coming, right?) might want to include a visit to one or more of the best theaters in the world in their plans—particularly if they're from a theater-challenged part of the country. There are new multiplexes in LA <I>suburbs</I>, for example, that are likely better than any movie theater in the entire state of New Mexico (I know from experience, having lived in Santa Fe for 10 years and visited most of the theaters there and in nearby Albuquerque, the state's biggest city by far).
HDMI 1.0 was introduced to the market in 2002. As a means of carrying both digital audio and video between the source and the display, it offered several advantages over competing technologies, the most prominent being IEEE 1393, commonly known as FireWire. HDMI carried both audio and video, and also offered alluring security advantages that appealed, in particular, to Hollywood.
Previously, on this blog (see below), I discussed the upgrades that HDMI 1.3 offered for video. Most of them, in my opinion, were nice to have as a hedge against future improvements in sources and displays, but did not offer any real benefits with present and foreseeable video formats, both standard and high definition. As far as video is concerned, then, I saw no reason to toss out your present gear or hold off a purchase until there's a wide range of sources, switchers, and displays with HDMI 1.3. That will likely be a long wait.
It’s hard to believe but I now live in a two Bose household. My first Bose was a car stereo that came as part of a package deal in the Mazda 3 that I bought nearly two years ago. I had to take it to get the whole shebang. It wasn’t really a bad deal. Dissing Bose may be a spectator sport among heavy-duty audiophiles, but apart from a little bass heaviness (not exactly rare in car stereos), it’s a more than respectable piece of work. It I had wanted to buy a car for the stereo, I would have gone with an Acura TL.
Last week the local ABC affiliate in Los Angeles, KABC, became the first station in California (or so they said) to broadcast their local news programs in high definition. That includes the midday, late afternoon, early evening, and late night editions. And while that might not raise hosannas for a station whose idea of news includes shameless plugs for what's coming up that evening on <I>Dance With the Stars</I>, when you've got endless hours of news time to fill, what do you expect—an in-depth analysis of what's happening at city hall?
I was so ready to ignore the British royal wedding. I had zero interest. So when I set my PVR to record one of the interminable PBS reruns of the five-hour HD event, I told myself I was doing it just in case. Maybe someone would trip over the bridal train and send the whole entourage tumbling like a row of dominoes. That would be historic. Of course, getting a choice clip or two of video out of the closed world of the PVR is a puzzle I haven't yet solvedincluding the Super Bowl wardrobe malfunction from a few years back that has now sadly succumbed to the eventual fate awaiting all our precious ones and zeros: Erased from existence.
Will the prices of HD DVDs and BDs—the discs themselves, never mind the players)—keep the brakes on sales of the new format? If current trends continue, those of us with big DVD collections had better start saving up if we want to eventually replace them with HD DVDs and BDs (Blu-ray discs).
CEDIA began its annual event in 1989. At that time it was launched in a modest venue full of table-top exhibits and educational seminars, with a strong emphasis on the latter. This was appropriate, as we all had a lot to learn about home theater.
I’ve been attending CEDIA since 1994, when then Stereophile publisher Larry Archibald decided it was time to begin a new publication dedicated to the burgeoning home theater businessthe Stereophile Guide to Home Theater. But even in the first year or two I attended, accompanied by Archibald, the Guide’s founding editor, Lawrence B. Johnson, and the requisite marketing crew, you could cover all of the exhibits in a couple of hours.
“A South Korean Company aiming to transform the way Americans experience movies at the multiplex is bringing its ‘4-D’ technology to Los Angeles.”
What’s 4-D? The technology is actually called 4DX, and instead of just picture and sound it adds, as needed, moving and vibrating seats, wind, strobe lights, fog, rain, and scents, all of them supporting what’s happening on the screen.