Scott Wilkinson

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Scott Wilkinson Posted: Apr 30, 2012 8 comments
I just got back from Petaluma, California, where I was honored and privileged—not to mention greatly pleased—to fill in for Leo Laporte, hosting his nationally syndicated call-in radio show, The Tech Guy, while he was attending the Northern Lights photography festival in Norway. On Saturday, I was joined in the studio by David Vaughn, hardware and movie reviewer for HomeTheater.com and Home Theater magazine, and we spent a delightful three hours answering listener questions and conversing with the lively chat room during commercial and news breaks.
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Scott Wilkinson Posted: Apr 27, 2012 6 comments
My girlfriend and I just moved into a new home, and I get to upgrade my system! I'm looking to pick up the new Panasonic TC-P55VT50 plasma, Oppo BDP-93 Blu-ray player, and the RSL 5.1 speakers. Now, I need to choose an A/V receiver to get the best out of the equipment listed above. For reference, I'm looking at the Marantz SR7005 or the Anthem MRX 500 or 700. I want something that will give the best audio and video quality; I don't care about the extra crap I won't use anyway. If any of these would be perfect, or you can think of any other great solutions (even separates), I would really like your opinion.

Aaron Dragoon

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Scott Wilkinson Posted: Apr 25, 2012 5 comments
I have designed and framed out a dedicated home theater with a separate room for a projector to project the image onto a translucent screen to be viewed in the theater room. I spoke with both projector and screen manufacturers before construction, and I asked them which would produce a better image—traditional front projection or rear projection such as I have in mind. The answer was unanimous: rear projection would produce a better image. I realize that the market for this type of setup is much smaller than traditional front-projection because of the obvious design considerations. But there are many advantages over front-projection, primarily and most importantly a better picture as well as no projector noise or heat in the viewing area. I would love to see some discussion on this type of projection in the magazine.

Duane Clemens

Scott Wilkinson Posted: Apr 24, 2012 4 comments
Academy Award-winning sound editor Lon Bender explains the process of adding sound to a movie, how the process has evolved over the years, and how a home-theater mix differs from a commercial-cinema mix. He also shares some anecdotes from several projects he's worked on, including The Hunger Games and Drive, talks about the problem of not enough sound isolation between theaters in a multiplex, answers chat-room questions, and more.

Run Time: 1:06:32

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Scott Wilkinson Posted: Apr 20, 2012 2 comments
By far the most important demo at NAB was presented by Christie, one of the foremost makers of digital-cinema projectors for commercial theaters. It was a comparison of the effect of shooting and displaying 3D movies at different frame rates—24, 48, and 60 frames per second. The entire demo was created and narrated by James Cameron, who started by pointing out that digital cinema cameras and projectors are fully capable of shooting and displaying higher frame rates, which greatly reduces or eliminates the motion blur and stuttering endemic to 24fps.
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Scott Wilkinson Posted: Apr 20, 2012 0 comments
And now for something completely over the top—an autostereoscopic (glasses-free) 16:9 rear-projection display measuring 200 inches diagonally! This behemoth was developed by Japan's National Institute of Information and Communications Technology (NICT) and consists of 200 small DLP projectors behind a special diffuser screen and Fresnel lens. Amazingly, you can walk around and see objects from different angles and even behind them, much like a true hologram. There was some obvious vertical banding in the 1920x1080 image, but I found no one who could explain why.
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Scott Wilkinson Posted: Apr 20, 2012 3 comments
The most important consumer-related product introduction at NAB was a new projector and source device from Red Digital Cinema, which is best known for its digital-cinema cameras. As its name implies, the REDray Laser Projector uses lasers as its illumination source, and the red, green, and blue lasers are housed in a separate module (the larger box seen directly above the projector in the photo) that connects to the projector itself via fiber optics. Even more interesting, multiple laser modules can be ganged together to produce more light for larger screens, and the lasers are rated to last more than 25,000 hours with virtually no change in color or light output.
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Scott Wilkinson Posted: Apr 20, 2012 0 comments
Dolby was showing several items in its booth, including an update to Dolby Digital Plus for mobile devices as well as its LED-backlit LCD professional reference monitor with local-dimming control of each LED rather than larger zones—very cool, but very expensive. What interested me the most was Dolby 3D, a new technology developed in collaboration with Philips Research and introduced at NAB.
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Scott Wilkinson Posted: Apr 20, 2012 0 comments
Each year at NAB, NewTek, maker of the TriCaster video switcher, hosts a panel discussion about the future of television called Broadcast Minds. This year, the panel was moderated by Leo Laporte, head of the TWiT network that produces my Home Theater Geeks podcast among many others. Seen here in the center, he is joined by (left to right) Jeff Hawley, Director of Customer Experience for Yamaha; Bill Chapman, VP of Creative and Engineering Technology for Turner Broadcasting; Jeff Jacobs, Senior VP of Production Strategies for MTV; and Kevin Pollack, comedian, actor, and host of a popular podcast called Kevin Pollack's Chat Show.
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Scott Wilkinson Posted: Apr 20, 2012 0 comments
Outside the Red Digital Cinema demo theater, I saw this 60-inch quad-HD (3840x2160) flat panel made by Planar. No one could tell me much about it—the Planar rep wasn't around at that moment—except that it's an LED-illuminated LCD, probably edgelit. It did look mighty crisp and sharp.

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