Samsung Introduces The Wall Luxury - Page 4 - AVS Forum | Home Theater Discussions And Reviews
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post #91 of 131 Old 06-18-2019, 08:03 AM
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Staggering, yes, but I can't help feel that if what you are after is a dark room display for HT purposes it is also utterly pointless. Of all the things I pick on about my room, not once has brightness ever come to mind these days.
OK, maybe if you're trying to light a 15ft-20ft display you'll have a different take on things, but for most of us mortals the brightness capabilities of these just ain't a thing.

Without both large amounts of light and contrast you realistically aren't experiencing HDR. Even in a dark room 70fL is an awesome thing this with better contrast would be stunning. I seriously doubt that anyone who had the choice to have it wouldn't jump at it compared to watching either low nits and high contrast or high nits and low contrast which is the choice we have right now.

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post #92 of 131 Old 06-18-2019, 08:27 AM
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Originally Posted by Art Sonneborn View Post
Without both large amounts of light and contrast you realistically aren't experiencing HDR. Even in a dark room 70fL is an awesome thing this with better contrast would be stunning. I seriously doubt that anyone who had the choice to have it wouldn't jump at it compared to watching either low nits and high contrast or high nits and low contrast which is the choice we have right now.

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This is the bit of the argument I disagree with. HDR reference mastering environment is a 10 nit diffuse D65 bias light behind the screen, so maximum contrast on a Dolby Pulsar in a reference mastering environment at the eye is 400:1. Even with a 10,000:1 mastering monitor (does one exist yet?) your eyeballs would only get 1000:1 simultaneous contrast with that 10 nit bias light.
Now, for HDR in mixed use rooms where there is background light, sure, makes sense (HDR on TVs exists for this reason, to get over the fact that 100nits is dim compared to the typical TV environment). But I'm specifically talking about dark rooms here. Once you remove that bias light the levels of light being talked about on these displays are much too bright.
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post #93 of 131 Old 06-18-2019, 08:44 AM
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This is the bit of the argument I disagree with. HDR reference mastering environment is a 10 nit diffuse D65 bias light behind the screen, so maximum contrast on a Dolby Pulsar in a reference mastering environment at the eye is 400:1. Even with a 10,000:1 mastering monitor (does one exist yet?) your eyeballs would only get 1000:1 simultaneous contrast with that 10 nit bias light.
Now, for HDR in mixed use rooms where there is background light, sure, makes sense (HDR on TVs exists for this reason, to get over the fact that 100nits is dim compared to the typical TV environment). But I'm specifically talking about dark rooms here. Once you remove that bias light the levels of light being talked about on these displays are much too bright.

Are you using a projector now? You have experienced an HDR title on an OLED for example. What reflected nit value and sequential contrast are you getting ? I have 70fL but more like 12,000:1 and it really isn't close I still can't get great HDR performance that looks convincing compared to an OLED.


The only example in projection I've seen thus far is the Christie Large Venue at their plant nothing else touches it. I hate to say that your numbers don't tell the story but ..your numbers don't tell the story.



Where did you get the 400:1 number for contrast ?



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post #94 of 131 Old 06-18-2019, 09:11 AM
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Are you using a projector now? You have experienced an HDR title on an OLED for example. What reflected nit value and sequential contrast are you getting. I have 70fL but more like 12,000:1 and it really isn't close.

The only example in projection I've seen thus far is the Christie Large Venue at their plant nothing else touches it. I hate to say that your numbers don't tell the story but ..your numbers don't tell the story.

Where did you get the 400:1 number for contrast ?
I think it is a matter of eye health and viewer comfort. Just because 132dB can be achieved doesn't mean it should be listened to frequently...

SMPTE doc for reference HDR viewing environment is here:
https://www.avsforum.com/forum/139-d...nment-out.html

The 400:1 is outdated, sorry. It used to be 10% of peak white for bias light (so around 10nits). Now it is a flat 5 nits for HDR, so you'll see max 800:1, if you have 4000 nits surrounded by 5nits (bear in mind the size of a Pulsar and how close folk sit to it).
The problem is content (if you're lucky) is being mastered to be comfortable in that reference environment. If you remove all the bias light (like you would in a black room theatre) then the iris will open up in dark scenes, which will be pretty bad if someone has stuck a massively bright flash in the content.

There is no standard calling for thousands of nits on screen in a black viewing environment, hence why the amount of nits on these MicroLED screens is pointless for a dark room. There simply isn't content being mastered to be watched that way, and watching content that is mastered to the standards will be painful in such an environment.
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post #95 of 131 Old 06-18-2019, 09:40 AM
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I wonder if Samsung will drop the modular build idea at a later date as they refine manufacturing these and get their defect rate low enough to build larger panels?

Or just keep the modular thing since it would simplify manufacturing and distribution a lot and allow them to get incremental sales by selling more modules? Plus for retail display the modular thing will be huge. I could see Times Square going completely to this.

What happens if there are multiple generations of modules? Will you be able to mix them? I doubt it.

I agree though - projection will disappear. Hell, I wonder if this could replace movie theater projection?

Are these acoustically transparent? If not, I would not want them replacing any type of theater, home or commercial.
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post #96 of 131 Old 06-18-2019, 09:45 AM
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They could probably be engineered to make sound directly by vibrating the front panel which would be super precise sound with each module being it's own speaker. But that may not be sufficient for a movie theater where volume would potentially be an issue.

The visionary thing to do with the modules would be to make them assemble like smart Legos where you snap them together and they know where they are in relation to the other ones and then present themselves as a correctly sized and resolution display to whatever is hooked up to them.

If you can't see the seams, I would totally double down on the modular thing since it should keep yield losses down and make inventory easy as hell.

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post #97 of 131 Old 06-18-2019, 11:53 AM - Thread Starter
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Originally Posted by tknx View Post
They could probably be engineered to make sound directly by vibrating the front panel which would be super precise sound with each module being it's own speaker. But that may not be sufficient for a movie theater where volume would potentially be an issue.

The visionary thing to do with the modules would be to make them assemble like smart Legos where you snap them together and they know where they are in relation to the other ones and then present themselves as a correctly sized and resolution display to whatever is hooked up to them.

If you can't see the seams, I would totally double down on the modular thing since it should keep yield losses down and make inventory easy as hell.
This was demonstrated at CES 2019.

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post #98 of 131 Old 06-18-2019, 01:13 PM
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There is no standard calling for thousands of nits on screen in a black viewing environment, hence why the amount of nits on these MicroLED screens is pointless for a dark room. There simply isn't content being mastered to be watched that way, and watching content that is mastered to the standards will be painful in such an environment.
But at the same time you can't get reasonable specular highlights at 14fL and 5000:1 sequential contrast... it looks better in SDR rec 2020. You don't have to use all the light if you don't want it but if you don't have it you are stuck....Just my opinion but I'll take the latitude to see it as an OLED can reproduce it only larger if I have the choice.
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post #99 of 131 Old 06-18-2019, 01:59 PM
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But at the same time you can't get reasonable specular highlights at 14fL and 5000:1 sequential contrast... it looks better in SDR rec 2020. You don't have to use all the light if you don't want it but if you don't have it you are stuck....Just my opinion but I'll take the latitude to see it as an OLED can reproduce it only larger if I have the choice.
I think the devil will be in the detail. It is quite possible that from that brightness we end up with a display that comes out of black abruptly, and in that case those bright specular highlights will have cost dearly for the 95% of images devoid of significant highlights. Be interesting to see it when they get out into the wild.
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post #100 of 131 Old 06-18-2019, 06:51 PM
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These video walls are really cool. Someday Ill have one in my living room possibly if and when I feel my OLED needs to be bigger or it wears out. But not in my dedicated theater. Personally I built my theater to replicate my experience growing up being swept away at the movie theater. Wether it was my local small town single or the 70/15 Omnimax a few hours away, it was always with projection. I almost feel like im cheating by using digital projection but after going to see so many movies projected with digital it feels more normal. I guess im really not the biggest videophile cause my love for keeping things traditional overrides my want for better and better picture quality, although I love and prefer a calibrated image and owned some great displays and love my current JVC. I think honestly I am very satisfied with my current gear solution as it took me 10 or so years to get here.

Im excited to set back and watch the industry unfold. I hope there will be a few video walls to check out at CEDIA this year and im sure there will be. This reminds me of when plasma technology came out and slowly got cheaper and cheaper and a better and better picture. I think Arrow was saying that too. Im very excited to see some of the members get their own video walls and can't wait to read the build threads!

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post #101 of 131 Old 06-18-2019, 10:05 PM
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Well, firstly I happen to be one of those people who designs and builds the best audio installations out there. And secondly, yes, really

Compared to what? As compared with a projection screen with speakers behind it.

I strongly disagree that "most people will find the audio in Wall installations good enough". When it comes to audio 'good enough' does not feature within my vocabulary And as it happens, I specialize in designing and building uiltra-high-end home theaters and I can tell you right now that the demographic who will be purchasing these expensive video walls are doing so because they want the best in not only video but also audio. And most certainly clients do not want to compromise when it comes to the audio; and this is even when it comes to installations into luxury yachts and penthouse apartments wherein there are restrictions due to the environment. Furthermore, SAMSUNG has received overwhelmingly negative feedback regarding its ONYX cinemas that features its commercial modular LED Video Wall product that the audio sucks; and this is from the general population, let alone AV enthusiasts! Wherein, the general opinion is that the video is a step-up but the audio is a step backwards. So, SAMSUNG is very aware that there needs to be better audio with respect to both the commercial cinema and domestic home theater video wall products

There will soon be opportunity for your good self and any of the fine gentlemen who populate this forum to attend some AV parties that I will be hosting later this year, wherein you will be able to experience this audio system for yourself; because I am installing it into one of two new home theaters that I am only a couple of months aways from finishing at my home. So don't take my word for it, come and have a listen. The proof is in the pudding as they say

What is needed is 100% acoustically video transparent acoustic treatments to go over/on top of the screen walls at places! HA!

Regardless of how many zillion speakers we have in our home theatre systems now, the most important are still the very front screen speakers and soundstage. In wall/on wall speakers simply don't give the 3D musical and imaging that excellent floorstanding speakers do (I admit I am somewhat
biased/prejudiced in this regard. So if the room is tall enough, and excellent center speaker(s) can be just under the screen (maybe over, too?), and front left and right speakers floorstanding out into the theatre some, I think that will really help sonics! Of course I know ARROW AV loves Steinway Lyngdorf and that their Room Perfect room correction is designed to work with floorstanders just in front of the front screen wall, and their super duper expensive demo at last CEDIA was excellent, musical and 3D! I expect this is ARROW AV's secret sause with the screen wall and it just may work. Of course the Steinway-Lyngdorf audio theatre system demod at CEDIA was I think just south of $400k msrp! Myself I'm a bit more audio purist and would rather place the front speakers into the room and away from the walls some for the best objective and subjective sonics possible without room correction, and then apply the room correction. It would be interesting to have an excellent Steinway-Lyngdorf audiophile theatre system and apply the Room Perfect vs the Trinnov room correction/optimization and hear the results!

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post #102 of 131 Old 06-19-2019, 03:58 AM
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Is this in the UK Nigel ?

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Yes. However, very easy access from the United States due to being located only 20 minutes from London Heathrow International Airport

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Staggering, yes, but I can't help feel that if what you are after is a dark room display for HT purposes it is also utterly pointless. Of all the things I pick on about my room, not once has brightness ever come to mind these days.
OK, maybe if you're trying to light a 15ft-20ft display you'll have a different take on things, but for most of us mortals the brightness capabilities of these just ain't a thing.
Utterly pointless? Not really

I agree that 2000 nits peak luminance is probably the least interesting performance feature for those of us with blacked out home theater environments; however, this does have the benefit of requiring less dependance on tone mapping with HDR, wherein the higher the luminance dynamic range, the less tone mapping is required and the closer we are to replicating the real world.

Further to this, there are also a number of additional USPs versus the typical projector, such as pixel level black level control for contrast and black level performance just as good as OLED, but with superior dynamic range as compared with OLED. Also, the superior colour performance which rivals that of the best fully RGB laser projectors, with 100% coverage of the BT.2020 color gamut, which is superior to OLED as well.

Additionally, there's the support for the likes of Dolby Vision (Sony Crystal LED) and HDR10+ (SAMSUNG The Wall) which currently projectors do not benefit from; although there is the frame-by-frame tone-mapping offerings by MadVR and Lumagen PRO for use with HDR10 content.

So actually these modular video walls have quite a lot of advantages versus most projectors. But then there are the negatives as well, which I have already mentioned, although none of these are insurmountable issues

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What is needed is 100% acoustically video transparent acoustic treatments to go over/on top of the screen walls at places! HA!

Regardless of how many zillion speakers we have in our home theatre systems now, the most important are still the very front screen speakers and soundstage. In wall/on wall speakers simply don't give the 3D musical and imaging that excellent floorstanding speakers do (I admit I am somewhat
biased/prejudiced in this regard. So if the room is tall enough, and excellent center speaker(s) can be just under the screen (maybe over, too?), and front left and right speakers floorstanding out into the theatre some, I think that will really help sonics! Of course I know ARROW AV loves Steinway Lyngdorf and that their Room Perfect room correction is designed to work with floorstanders just in front of the front screen wall, and their super duper expensive demo at last CEDIA was excellent, musical and 3D! I expect this is ARROW AV's secret sause with the screen wall and it just may work. Of course the Steinway-Lyngdorf audio theatre system demod at CEDIA was I think just south of $400k msrp! Myself I'm a bit more audio purist and would rather place the front speakers into the room and away from the walls some for the best objective and subjective sonics possible without room correction, and then apply the room correction. It would be interesting to have an excellent Steinway-Lyngdorf audiophile theatre system and apply the Room Perfect vs the Trinnov room correction/optimization and hear the results!
Couple of things here

I agree that you can achieve fabulous results with in-room floor standing Front Left and Front Right speakers; however, I disagree that you cannot achieve as good audio performance in other ways. The Steinway Lyngdorf demo at CEDIA 2018 last September was illustrative of this fact. Wherein, since you mention it, Room Perfect room correction is not specifically designed to work with floorstanders just in front of the front screen wall, but with respect to all kinds of speaker configurations.

There is a partnering between SAMSUNG and Steinway Lyngdorf with respect to The Wall that includes floorstanders just in front of the front screen wall, but let's just say there is more than one way to skin a cat. You are close, but no cigar, because my particular audio system design does not in fact make use of in-room floor-standing speakers, which still does not solve the issue of the centre channel by the way, and in fact can become visually obstructive with very large sized screens and wider screen aspect ratios than 16:9, so is impractical in such circumstances. However, what I will say is that DSP and room correction is absolutely key.

I will start a new thread at a later date regarding the systems I am building here, and like I have said I will be hosting some AV parties wherein there will be opportunity for folks who are interested to attend. I did this previously regarding another build of mine with respect to another AV Forum and everyone had lots of fun. But let's leave further discussion until then as I don't want to venture off the topic of this thread

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post #103 of 131 Old 06-19-2019, 08:38 AM
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Originally Posted by Art Sonneborn View Post
Without both large amounts of light and contrast you realistically aren't experiencing HDR. Even in a dark room 70fL is an awesome thing this with better contrast would be stunning. I seriously doubt that anyone who had the choice to have it wouldn't jump at it compared to watching either low nits and high contrast or high nits and low contrast which is the choice we have right now.

Art
I'm going to have to disagree with the pursuit of high brightness for HDR Art. I also don't think you can really compare HDR on an OLED to HDR on front projection, simply given the difference in screen size, and the fact that the OLED (as I understand it) can only provide its peak brightness for a small part of the highlight (not the whole screen for example). Those two differences alone mean that the projection system is putting a whole lot more light out to the retina than the OLED.

I typically used to run HDR at around 185 nits (55FtL) with static tone mapping, and with the screen filling peripheral vision. That was okay, but occasionally uncomfortable with very large and bright highlights. With dynamic tone mapping I've backed this down to 155 nits (45FtL) as many highlights now use the displays full brightness range making them significantly more intense, and can be uncomfortable. It also helps for me that decreasing brightness also leads to an increase in (on/off) contrast, which should really be the objective of HDR above peak brightness.

I can run my set-up at 330 nits (96FtL) on high laser if I wanted to (for ****s and giggles), and I'll be honest, its pretty uncomfortable. I can well imagine that a similar size screen hitting 1,000 nits, in a light controlled room, is going to be down-right painful to watch.
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post #104 of 131 Old 06-19-2019, 10:23 AM
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That was okay, but occasionally uncomfortable with very large and bright highlights.
I think there lies the crux of things; I don't doubt that you could make a stunning demo reel for a 2000 nit very large display in a dark room if it were carefully curated or specially created with the screen size in mind, but no-one making home release HDR transfers has these screen sizes or peak luminance levels in mind, and they're not mastering them in a dark room as far as I'm aware. I've seen some very large bright HDR bits in some made for TV / streaming stuff.

Maybe such a setup could be made to work and allow small very bright specular highlights if the display or an intermediate processor were aware of the display area and performed and equivalent process to the ABL in OLED displays, limiting the full force of the display. But just hooking up a massive 1500/2000 nits display seems bad.

I did note that at least one doc had the specs listed for The Wall as 1500 nits peak / 500 nits max - which implies some kind of ABL, perhaps to limit module power consumption, or interconnect power handling requirements. However that is still between 2 and 4 times brighter than an OLED TV!...
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post #105 of 131 Old 06-19-2019, 11:36 AM
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I'm going to have to disagree with the pursuit of high brightness for HDR Art. I also don't think you can really compare HDR on an OLED to HDR on front projection, simply given the difference in screen size, and the fact that the OLED (as I understand it) can only provide its peak brightness for a small part of the highlight (not the whole screen for example). Those two differences alone mean that the projection system is putting a whole lot more light out to the retina than the OLED.

I typically used to run HDR at around 185 nits (55FtL) with static tone mapping, and with the screen filling peripheral vision. That was okay, but occasionally uncomfortable with very large and bright highlights. With dynamic tone mapping I've backed this down to 155 nits (45FtL) as many highlights now use the displays full brightness range making them significantly more intense, and can be uncomfortable. It also helps for me that decreasing brightness also leads to an increase in (on/off) contrast, which should really be the objective of HDR above peak brightness.

I can run my set-up at 330 nits (96FtL) on high laser if I wanted to (for ****s and giggles), and I'll be honest, its pretty uncomfortable. I can well imagine that a similar size screen hitting 1,000 nits, in a light controlled room, is going to be down-right painful to watch.
Very interesting I'm just not in this camp. An occasional scene or part of a scene where there is a bright object like a lamp ,brightly lit clouds a white out from a knockout ..you name it, this ,for me at least, brings the image into a reality type experience. Low nits just appears unconvincing unsaturated and for lack of a better term lifeless.

I can mute one of my projectors then back on doubling the light and (of course 12000:1 isn't any sort of reference )it is stunningly improved in those things which IMO make an image impactful.

I can completely understand someone finding it perhaps "too much" it's just not true for me. Looking at the reproduction at Christie with their large venue at 18' wide with over 500 nits was incredible to me. I'm really hoping I can make that happen in my home.I may not need all of that horsepower and having the opportunity to tone it down is much nicer than wishing I had the light to not have to tone map so aggressively.
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post #106 of 131 Old 06-19-2019, 12:20 PM
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I did note that at least one doc had the specs listed for The Wall as 1500 nits peak / 500 nits max - which implies some kind of ABL, perhaps to limit module power consumption, or interconnect power handling requirements.
THE WALL LUXURY:




THE WALL PROFESSIONAL:




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post #107 of 131 Old 06-19-2019, 12:52 PM
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THE WALL LUXURY:




THE WALL PROFESSIONAL:



I'm not up on the difference.
I was looking at this which shows the 1600peak / 500max values in the table at the back:
https://displaysolutions.samsung.com...Res_180910.pdf
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post #108 of 131 Old 06-19-2019, 01:16 PM
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I'm not up on the difference.
I was looking at this which shows the 1600peak / 500max values in the table at the back:
https://displaysolutions.samsung.com...Res_180910.pdf
That's The Wall Professional, not The Wall Luxury. The Wall Luxury is higher specced at 2000 nits

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post #109 of 131 Old 06-19-2019, 07:21 PM
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THE WALL LUXURY:




THE WALL PROFESSIONAL:




What happened to assembling it to any configuration you like? I see the aspect ratio fixed at 16x9. That's very disappointing.
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post #110 of 131 Old 06-19-2019, 09:49 PM
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Originally Posted by darksets View Post
What happened to assembling it to any configuration you like? I see the aspect ratio fixed at 16x9. That's very disappointing.
My two cents are that a 16:9 panel is a very good idea as it can work as a constant Height AR setup (for example for Nolan movies) - since there will be no masking needed.... very cool.
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post #111 of 131 Old 06-19-2019, 11:04 PM
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LED walls are not limited to 16:9. It just happens to be the standard configuration.

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post #112 of 131 Old 06-20-2019, 12:26 AM
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Originally Posted by darksets View Post
What happened to assembling it to any configuration you like? I see the aspect ratio fixed at 16x9. That's very disappointing.
You can indeed assemble it to any configuration you like. That is the whole point of the product.

These tables simply show the 4x4 (16) module configuration which is 4K resolution 16:9 aspect ratio

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post #113 of 131 Old 06-20-2019, 06:44 PM
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Originally Posted by ARROW-AV View Post
You can indeed assemble it to any configuration you like. That is the whole point of the product.

These tables simply show the 4x4 (16) module configuration which is 4K resolution 16:9 aspect ratio

Thanks! I'm not planning to buy one any time soon soon but it's good to know that the prospect of a scope aspect ratio exists when these things become commonplace down the road. And hopefully by that time the 16:9 aspect ratio standard will be superseded by something closer to 2.35:1.
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post #114 of 131 Old 06-21-2019, 12:03 AM
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post #115 of 131 Old 06-21-2019, 02:33 AM
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Quote:
Originally Posted by darksets View Post
Thanks! I'm not planning to buy one any time soon soon but it's good to know that the prospect of a scope aspect ratio exists when these things become commonplace down the road. And hopefully by that time the 16:9 aspect ratio standard will be superseded by something closer to 2.35:1.
Right, so as you can see the 8 x 6 (48) module configuration is 2.37:1 Aspect Ratio, and is probably the one you will want

I recommend that you place your order soon because at the bargain price of $1 MILLION these will certainly sell out quickly, so be sure to place your order soon or else you might miss out!


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post #116 of 131 Old 06-21-2019, 07:40 AM
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Originally Posted by ARROW-AV View Post
Right, so as you can see the 8 x 6 (48) module configuration is 2.37:1 Aspect Ratio, and is probably the one you will want

I recommend that you place your order soon because at the bargain price of $1 MILLION these will certainly sell out quickly, so be sure to place your order soon or else you might miss out!

Hey--The 4 by 3 option is only a paltry $265K.

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post #117 of 131 Old 06-22-2019, 01:10 AM
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Onyx Star Cinema Richmond Texas

Quote:
The Cinema of the Future
Sensing the need to transcend the outdated projector-based systems that have been the industry standard over the past 120 years, Samsung is prepared to play a starring role in delivering the most advanced graphics and refined production techniques and defining the “cinema of the future” with its new Cinema LED Technology called “Onyx”. By bringing the visual power of LED picture quality to the big screen, Samsung Onyx offers viewers more powerful, compelling and memorable content. Inspired by the gemstone of the same name, the Samsung Onyx brand alludes to the display’s ability to showcase cinematic content with true black colors. Backed by brilliant LED picture quality and an infinite contrast ratio, Samsung Onyx ensures movie content like never before.

Star Cinema Grill is happy to introduce the 46 ft. (14m) wide Samsung Onyx p3.3 Cinema LED on June 20th at their newest location in Richmond, Texas. Star Cinema Grill Richmond/Katy is the company's most advanced and luxurious theatre to date and serves as the model concept going forward. This is the first Samsung Onyx p3.3 Cinema LED in the Western hemisphere and only the second in the world. We can't wait for our guests to experience this truly amazing cinema technology.
Toy Story 4 only so far. Spiderman come 4th of July. Only 30 miles away that unfortunately take 1 1/2 hours to get to.


https://www.starcinemagrill.net/movie/toy-story-4
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post #118 of 131 Old 06-22-2019, 05:52 AM
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Originally Posted by coug7669 View Post
Toy Story 4 only so far. Spiderman come 4th of July. Only 30 miles away that unfortunately take 1 1/2 hours to get to.


https://www.starcinemagrill.net/movie/toy-story-4
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Booked Spiderman in Onyx - Premium Pods :-)
I was thinking I would have to wait for my next trip to Korea as the only other one is in Lotteworld - only 35 minutes from my home - I am in central Houston.

The Cinema of the Future
Sensing the need to transcend the outdated projector-based systems that have been the industry standard over the past 120 years, Samsung is prepared to play a starring role in delivering the most advanced graphics and refined production techniques and defining the “cinema of the future” with its new Cinema LED Technology called “Onyx”. By bringing the visual power of LED picture quality to the big screen, Samsung Onyx offers viewers more powerful, compelling and memorable content. Inspired by the gemstone of the same name, the Samsung Onyx brand alludes to the display’s ability to showcase cinematic content with true black colors. Backed by brilliant LED picture quality and an infinite contrast ratio, Samsung Onyx ensures movie content like never before.

Star Cinema Grill is happy to introduce the 46 ft. (14m) wide Samsung Onyx p3.3 Cinema LED on June 20th at their newest location in Richmond, Texas. Star Cinema Grill Richmond/Katy is the company's most advanced and luxurious theatre to date and serves as the model concept going forward. This is the first Samsung Onyx p3.3 Cinema LED in the Western hemisphere and only the second in the world. We can't wait for our guests to experience this truly amazing cinema technology.



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post #119 of 131 Old 06-22-2019, 04:57 PM
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Ok, I am going to be the real jerk hear. Hear goes. Transistor amps are the best and tube amps suck! Ok everybody- GO😂. Actually I like having different opinions voiced and considered. As long as we all understand that everyone on the forum should have one and aught to be able to voice it. It's a bit like arguing over wine, everybody likes it, they just like different kinds.

I'm the odd man out on that analogy then. Can't stand the taste of wine and even when I tolerate a little bit of red, it gives me a hangover.

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post #120 of 131 Old 06-24-2019, 03:39 AM
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One of you needs to start an "Owner's Thread" and give the rest of us a full review.

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