2012年12月22日星期六
末日小黑盒Cubox
2012年12月14日星期五
Mytek Stereo 192 DSD vs Benchmark DAC2 HGC
早前Anthony購入了兩部支持DSD的解碼器，分別是Mytek Stereo 192 DSD及Benchmark DAC2 HGC，兩者定價分別為$12,800及$16,000。及後網友見Anthony在二手巿場分別將兩部機出售，引來不少猜測，問是不是這部比那部差。在這裏向大家說聲，兩部機在Anthony的系統中差別不是太大。
先說說Anthony聽歌以CAS為主，一般以Squeezebox Touch (已裝EDO)或notebook (foobar2000)為source，兩者均以usb輸出。在Mytek時期，因為Squeezebox Touch是以Linux為基楚的，而Mytek行Linux是需要安裝driver的，但試問如何在Squeezebox Touch安裝driver呢，所以Anthony就跟一些前輩的玩法在Squeezebox Touch及Mytek之間加入一部DDC SOtM dx-usb HD，接駁為:
Squeezebox Touch>>usb 2.0>>SOtM>>AES>>Mytek
Notebook>>usb 2.0>>Mytek
而自從在上年玩過Slim Device Transporter加Apogee Big Ben Master Clock後，Anthony 可以話中了"鐘"毒，而買Mytek的主要原因亦因為它有clock in/out的功能，但後來發覺Mytek要玩外置時鐘只可以用上AES/spdif input，用usb input時是不支援外置時鐘的，所以Anthony就想了很多不同idea看看如何加外置時鐘，同時亦令到自己轉入了牛角尖。
同時Kenneth兄有晚whatsapp Anthony表示剛剛同場聽完Mytek及新出的Benchmark DAC2 HGC的表現，說Benchmark的低頻表現比Mytek好上不少，建議Anthony亦去聽聽兩者分別，而Kenneth兄之前亦到訪過Anthony家聽過Mytek的表現。 就是他的一個whatsapp，Anthony第二晚就到旺角聽一聽兩者分別，在商鋪時因設定問題未能試到DSD的表現，但以PCM來說，明顯感到Benchmark在分晰力及定位上真的比Mytek要好。
二話不說，帶回家一試吧，兩部機在Anthony的系統上，分別在店鋪內為少，表現上Mytek來得比較直白，可能是一般嘅studio機的特性，像投有修鉓過，而聲音比較埋身，低頻亦比較收得緊。雖然Benchmark都是studio機底子，但DAC給Anthony的感覺是有少少人工化，音場比較後，低頻的層次多一點，伸延好一點。
好了，兩部機只能留一部，這點令Anthony十分頭痛了，功能上Mytek可以加外置時鐘，輸入端子有toslink，AES/EBU，coaxial，usb 1.0/2.0及firmware，格式上支持DSD native stream及DoP (DSD over PCM) 1.1，不論DSD64還是雙倍DSD的DSD128亦通通照單全收，電源用上線性環牛。
而Benchmark只有coaxial，toslink及usb 1.0/2.0，不可以加外置鐘，不持支DSD native stream，而行DoP 時亦只去到DSD64未能上到雙倍DSD，而電源是用上switching牛，但Benchmark用上XMOS usb芯片，接上Linux系統時並不需要安裝driver，而接上Squeezebox Touch時可以直接用usb 2.0行async，比要經SOtM再用AES出更直接。
在這個時候Anthony真是有點失了方向，功能上各有所長，聲音上Benchmark的確比較討好一點，但未能加外置時鐘總是令Anthony看低了它一點點。
幸好在得到一位網友Kenneth兄的提點，提醒Anthony就算加了一部好準確的外置時鐘，但當clock signal transfer時亦會因外間因素而產生jitter，而要減少喺transfer過程中所產生的jitter，靚電源線，靚鐘線及靚墊材缺一不可，這個投資會很大，同時亦不能確保clock signal到達Mytek時的jitter會比Mytek內部Master Clock的jitter還少。
另外Mytek的designer Michal 亦在Computer Audiophile forum上答覆Anthony的查詢時說 "I recommend staying with USB or FW clocked to Mytek internal clock. No external clock can beat jitter specifications of our 10ps master clock connecting to DAC with a 1/2" long trace. I would not try to fix something that isn't broken."(車! 10ps算不上什麼，Anthony見過兩部同樣support DSD的DAC在其spec中寫上 Master clock的jitter為<0.02ps)。
但的確上面兩翻說話令Antony突然有種被人點醒的感覺，Anthony已忘了外置時鐘的基本功用，它本來就是用來將CD轉盤及解碼器同步的工具，是為了減少因digital transfer時所產生的jitter所生存，但既然手上兩部解碼器行usb input時已經是行async模式，為何還要大費周章去加外置時鐘呢，看來玩CAS的話加鐘是不必，還可以說是多餘了。
好了，放低加鐘的心態後，回歸基本，Anthony現時以CAS為主，因遲一點會試行Linux，如上述所說Mytek行Linux要安裝driver，而Benchmark則無需要，看來Benchmark會比較方便一點。所以最後將Mytek賣走。
總括來說，兩部機在表現上是一點點差別，但不大，只是在配合日後Anthony的setting上Benchmark會較合適。但有一點可以肯定，就是兩部機播DSD都比PCM好，Kenneth兄及另一位到訪過的Edison兄亦有同感。
當然，有錢Anthony都想上Meitner MA-1。
2012.12.15
有點補充，本身Anthony未有雙倍DSD(DSD128)的檔案，但昨晚試用foobar2000將 44.1khz及88.2khz升上DSD128，部DAC2識到訊號DSD亦正常地播放，只是版面未没有如Mytek可以顯示到dsd或Hdsd，所以未能確定是否真正的DSD128。Anthony會嘗試找一些真正的DSD128檔案再一下。
2012.12.15
更正啓示，用foobar2000 up-sample to DSD128，DAC2播放不能，只認到DSD64，之前資料有誤，在此致歉。
-全文完-
當然，有錢Anthony都想上Meitner MA-1。
更正啓示，用foobar2000 up-sample to DSD128，DAC2播放不能，只認到DSD64，之前資料有誤，在此致歉。
-全文完-
2012年10月2日星期二
2012年9月18日星期二
2012 THX Education Program Certified Home Theater, China
記得上年當完成ISF課程後，Anthony說過好希望可以考取THX的Home Theater的認証，七月中得悉THX將會在北京開展為期三日的Home Theater 1同2課程，多得太太的支持Anthony可以到北京完成考取THX的心願。為答謝太太的支持Anthony亦決定完成THX Home Theater I的課程後便和太太多遊一次北京，THX Home Theater II只好留待下次幾會了。
上課當日是星期五，Anthony於六時多就由酒店出發到國家會議中心，短短的12公理路程便用了一個多鐘的時間，北京的交通比香港還要繁忙，幸好多預了一點時間最後仍可於上課前到達目的地。
Anthony發現同學中最少有十多名時香港人，而當中除了從事影音相關行列外，亦有不少是純為興趣而報讀的影音發燒友，而他們全是將會完成三天課程。
課程中展示了一些聲音的測量儀器但未有詳細介紹。
THX對影像及畫面的測試光碟，當中包含大量的test pattern。
三天的課程內容是十分豐富，THX Home Theater I的課程主要是了解THX的歷史及相關理論，而Home Theater II的內容是影音系統安裝及微調的進階教學及實淺。THX HT1課程人數約六十多人，而THX HT2因為是在中國第一次舉辨，所以報讀人數比HT1更多需要分成兩班，Anthony相信THX HT2裏有更多的香港內行人士及發燒友報讀。
課程當日正好是2012中國影音集成科技展開幕日，Anthony當然不會放過機會於午餐時間順道逛逛、影影相。
THX可說是影音認証的老大哥及先驅，Anthony有幸參與由它舉辨的課程真感到十分開心，而從中獲得的智識亦不少，但畢竟THX只是商業社會中的一個認証組織，所以Anthony希望在不久的將來可以再修讀一些傳統的影像及聲學的文憑程課，在影音智識範疇中更進一步。
-全文完-
2012年9月9日星期日
OPPO BDP-103/BDP-105 news from AVS
I will be updating this post as more information is released for the players. At this time the only source of information about the upcoming players is available through Secrets of Home Theater and High Fidelity. You can find some photos and general information about the player by visiting the 2012 Cedia Expo Cave and looking at the bottom of Day 1. Chris Heinonen also made the following post on AVS Forum with some more details not contained in the Cave post.
Somehow I missed this yesterday morning, but it appears that Home Theater Review had already tweeted the existent of the BDP-10x series of players, and some of their specifications, yesterday morning.
Any information not included in these writeups, or not included by any other publication, is still under NDA. Please be aware that anyone with information about the players (Beta Testers, etc) can't divulge any information that OPPO themselves have not publicly discussed. If we can't answer your questions, please be patient. It is not like we do not like you (or maybe we really do not like you.
Like the BDP-9x series of players, most of the features of the players are going to be identical, so at this time there is no point in having two separate threads as not much information is available for these two players.
New or Enhanced BDP-103/105 Shared Features:
Latest generation QDEO which supports 4K upscaling
2x2 HDMI. Two HDMI inputs; Two HDMI outputs.
The Front HDMI input supports MHL (Mobile High-Definition Link) which allows some of the newer smartphones to be connected direct to the player and transmits the phones screen to the television. This also allows for ROKU Stick support.
Newest Netflix interface which supports 1080p video, multi-channel audio, subtitle and alternative language selection, and Family Interface
Gracenote for looking up media information such as album art, artist, album, and track information for your CD, SACD, and user generated media
Backlit Eject buttons. No more thumbing around in the dark.
No more analog video. There is a "DIAG" port, but this is to only see the OPPO UI when there is no media playback. So for those of you who use a small monitor for media playback, you will need to upgrade to a DVI/HDMI capable display.
New BDP-105 Only Features:
Fanless (unlike the BDP-95)
Headphone Amplifier
Asynchronous USB DAC
Optical and Digital Coaxial Inputs
Properly oriented XLR outputs
Pricing and Release Dates are unknown.
Fanless (unlike the BDP-95)
Headphone Amplifier
Asynchronous USB DAC
Optical and Digital Coaxial Inputs
Properly oriented XLR outputs
Pricing and Release Dates are unknown.
2012年8月9日星期四
2011.8.9 OPPO BDP-93/BDP-95 Blu-ray Disc Player Firmware Update
OPPO BDP-93/BDP-95 Blu-ray Disc Player Firmware Update
OPPO BDP-93/BDP-95 Blu-ray Disc Player Firmware Update
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2012年7月25日星期三
[轉載]Rethinking The Importance Of Video Calibration By: Andrew Robinson of Home Theater Review
轉載一編有關影像調校的文章
http://hometheaterreview.com/rethinking-the-importance-of-video-calibration/
Rethinking The Importance Of Video Calibration By: Andrew Robinson of Home Theater Review
Back in November of last year I wrote a news story entitledCalibrating Your HDTV is a Problem You Shouldn't Have, which set off a bit of a firestorm, both in the consumer and calibrator communities. As you can imagine, many Joe Six-Pack consumers stood by my cries for calibrated displays out of the box, while calibrators did their best to remain polite while they proclaimed me an idiot. Well, it's been eight months since that article was published. In that time, I've learned a lot, both about calibration and its community, after which I can say, definitively, that I was wrong about many of my assertions, though I still wish the topic of calibration were better understood.
Additional Resources
• Read more original stories like this in our Feature News Stories section.
• See related information in our LED HDTV and Plasma HDTV news sections.
• Explore reviews for LED HDTVs and Plasma HDTVs.
Why the shift in thinking, you ask? Well, no one is perfect, least of all me, and I view my involvement in this hobby as one that is constantly evolving. My earlier views towards calibration were born out of experiences that I had in a) dealing with so-called professional calibrators and b) working in and around the professional post-production world. Beginning with my experience with professional calibrators, I was privileged enough to sit in on a number of calibration sessions with a few of the community's "top people" in order to witness masters in action. At the time, the approaches to calibrating a set appeared varied, with each individual having his own ideas and/or methods. Some were in line with standards and practices I use to this day, while others sadly were not. To compound the issue, I later spoke with founding members of the calibration community, only to discover that the very definition of what is or is not calibration seemed to be fluid, so long as the organization and/or calibrator was being compensated. This sincerely frustrated me and in many ways only strengthened my stance behind the views I had expressed in my earlier article. Additionally, having worked in and around post-production for the past several years, I've seen what passes as calibration, which isn't saying much, for too often the very displays charged with capturing "the filmmaker's intent" are adjusted by eye or not at all. In December of last year, I was about to write a follow-up to my first article, proclaiming myself right, when I received messages from a few calibrators who were responsible for developing the THX calibration standard/system.
It's not that one calibration method is right while the other is wrong. Both ISF and THX endeavor to achieve the same end goal: to bring your display, whatever it is, to the SMPTE (Society of Motion Picture and Television Engineers) standard. Where they differ is in how their students are taught, which in the case of ISF is more lecture-based, whereas THX is more classroom or hands-on oriented. Obviously, this is a bit of an oversimplification, but still accurate. Keep in mind, just because an individual has sat through the lectures and/or classroom exercises does not mean he or she is going to be an A+ calibrator. Just as with plumbers or general contractors, some calibrators bound to be better than others. Despite what some may tell you, going with an ISF or THX calibrator isn't necessarily going to make up for any deficiencies in his or her tradecraft.
For me personally, after speaking with practitioners of the two systems, many of them adept at both, it was the THX methodology and two of its key calibrators that ultimately changed my outlook on calibration. The two gentlemen in question are Michael Chen and Ray Coronado. Mr. Coronado is someone many of you may recognize now, as his name has come up in several of my recent video reviews. The reason for this is that Mr. Coronado has graciously extended his knowledge and expertise to me (and subsequently to all of you) in order to insure that the figures and raw data expressed in any of HTR's future HDTV and projector reviews is as accurate as possible, though it should be noted that he plays no role in the subjective portion of any display review. I still believe that a well-balanced and useful review is one that possesses enough meat (aka facts) to satisfy tech-savvy readers, yet not be so analytical as to bore or confuse those who may just want to know how best to shop for their next product.
How Mr. Coronado and Mr. Chen went about changing my perspective was simple - they sat me down and talked/walked me through a true calibration session. It was when Mr. Coronado pulled out multiple meters, signal generators, laptop computers and sanctioned test discs that I began to realize that what I had witnessed and/or thought to be true calibration in the past was in fact false. This made me angry, for one never likes to be misled or made to look like a fool, but it also made me even more determined to get the story right. A true THX-level calibration takes time, partially because it requires a lot of measurements (none of which are by eye) and also because the THX system calls for customer interaction. Believe it or not, the THX methodology calls for the customer to not only be present, but to also play an active role in understanding what is happening to the display. That was a huge 180-degree change from what I'd been told/shown previously, for getting permission to sit in on other calibrators' work sessions was like pulling one's own teeth, which explains a lot of the confusion, misinformation and secrecy surrounding the topic. The entire process took three hours. I'm told usually only takes about 90 minutes, but because I was asking question after question, it took a bit longer. At the end, we compared my reference Anthem LTX 500 (JVC) projector's image against what I had done using methods imparted to me by so-called professionals, and then what had been achieved by Mr. Coronado and the THX method. The two weren't even close. Furthermore, Mr. Coronado managed to squeeze more light output out of my aging projector, yet kept contrast and black levels at reference levels, whereas I had sacrificed both via my methods in order to brighten up my image somewhat. Furthermore, my colors were wildly inaccurate, which isn't surprising, given that you can't calibrate color (or grey scale, for that matter) by eye, no matter what any person or filter pack says. In the end, after an entire evening spent calibrating both my Panasonic plasma and Anthem D-ILA projectors, the results were in: calibration is important, it makes a difference and, while people may still have a hard time understanding it, it's not something manufacturers can provide for you out of the box.
But true professional calibration needn't be scary. First you have to decide if you're a candidate for calibration. This is simple - not everyone needs calibration. Wait, what? It's true. Many casual viewers, for instance, my parents, aren't really going to benefit from full professional calibration because, well, they're not that interested in critical viewing. Chances are that when they watch, they're also doing other things, like glancing at a magazine or carrying on a side conversation. Sure, they watch their favorite programs in earnest, but even then they're more engrossed in the story as opposed to the visuals. For my parents, and viewers like them, getting them to switch their displays to a more acceptable preset such as Standard, Movie or, better still, THX is going to be enough. Those who fancy themselves savvy but not anal-retentive will be well-suited with a copy of Digital Video Essentials on DVD or Blu-ray, as it will help them set brightness, contrast and color (by eye), which will be an improvement, in conjunction with a preset picture mode such as Movie or THX. The two above methods represent image adjustment, not calibration. Make no mistake: image adjustment is better than no adjustment or simply relying on a factory preset, but don't mistakenly view it and/or call it calibration, for it simply isn't. Why? Because our eyes constantly lie to us.
Calibration can only be carried out using calibrated measurement tools that take human error (provided your calibrator understands what he/she is doing) out of the equation. Calibration therefore is the last stop for those who want a) to extract the very best from their HDTV or projector investment and b) the peace of mind that comes from knowing they're seeing the image as it was intended to be seen by the filmmakers (again, provided the filmmakers took the care to have their displays/systems calibrated).
So how much does it cost? Well, calibration can cost anywhere from about $300 to however much a calibrator feels he or she can charge. Generally, I've found rates to fall somewhere between $250 and $600, depending on the individual's skill level, equipment and experience. Do your homework, ask for references and don't rush to hire the first one you spot, for doing your due diligence will pay dividends down the road. Sadly, there is no Angie's List for calibrators (though I'm told one might be in the works), so it's important to ask around and educate yourself. One way that calibration can actually help save you money is if you haven't yet purchased your new or next HDTV. If you currently have an HDTV but are dead set on buying a new one, maybe you should have your old one calibrated first and see if that doesn't change your opinion on having to buy a new one. More importantly, speaking with a calibrator before making a purchase can save you money. You see, calibration endeavors to bring whatever display you have or are thinking of purchasing to SMPTE standards, which many modern displays can achieve regardless of price. That's right, an affordable display from, say, Costco can be made to look as good or as accurate as a multi-thousand-dollar reference display touted on sites and in magazines like HTR. Knowing this, you can then base your purchase on which features (non-picture related) you want in your new HDTV, which may save you money. Speaking with a calibrator beforehand can only help, for chances are that they've calibrated many of the displays you may be considering and therefore can help guide you in the right direction.
So there you have it, some 1,800 words later, a partial retraction, apology and reaffirmation on the importance of display calibration. Do I regret my earlier comments? No, but I'm not above admitting that I was wrong. I hope that all of you, like me, have learned a little more and are better prepared to take the next step in your journey towards display and/or home theater perfection.
http://hometheaterreview.com/rethinking-the-importance-of-video-calibration/
Rethinking The Importance Of Video Calibration By: Andrew Robinson of Home Theater Review
Back in November of last year I wrote a news story entitledCalibrating Your HDTV is a Problem You Shouldn't Have, which set off a bit of a firestorm, both in the consumer and calibrator communities. As you can imagine, many Joe Six-Pack consumers stood by my cries for calibrated displays out of the box, while calibrators did their best to remain polite while they proclaimed me an idiot. Well, it's been eight months since that article was published. In that time, I've learned a lot, both about calibration and its community, after which I can say, definitively, that I was wrong about many of my assertions, though I still wish the topic of calibration were better understood.
Additional Resources
• Read more original stories like this in our Feature News Stories section.
• See related information in our LED HDTV and Plasma HDTV news sections.
• Explore reviews for LED HDTVs and Plasma HDTVs.
Why the shift in thinking, you ask? Well, no one is perfect, least of all me, and I view my involvement in this hobby as one that is constantly evolving. My earlier views towards calibration were born out of experiences that I had in a) dealing with so-called professional calibrators and b) working in and around the professional post-production world. Beginning with my experience with professional calibrators, I was privileged enough to sit in on a number of calibration sessions with a few of the community's "top people" in order to witness masters in action. At the time, the approaches to calibrating a set appeared varied, with each individual having his own ideas and/or methods. Some were in line with standards and practices I use to this day, while others sadly were not. To compound the issue, I later spoke with founding members of the calibration community, only to discover that the very definition of what is or is not calibration seemed to be fluid, so long as the organization and/or calibrator was being compensated. This sincerely frustrated me and in many ways only strengthened my stance behind the views I had expressed in my earlier article. Additionally, having worked in and around post-production for the past several years, I've seen what passes as calibration, which isn't saying much, for too often the very displays charged with capturing "the filmmaker's intent" are adjusted by eye or not at all. In December of last year, I was about to write a follow-up to my first article, proclaiming myself right, when I received messages from a few calibrators who were responsible for developing the THX calibration standard/system.
It's not that one calibration method is right while the other is wrong. Both ISF and THX endeavor to achieve the same end goal: to bring your display, whatever it is, to the SMPTE (Society of Motion Picture and Television Engineers) standard. Where they differ is in how their students are taught, which in the case of ISF is more lecture-based, whereas THX is more classroom or hands-on oriented. Obviously, this is a bit of an oversimplification, but still accurate. Keep in mind, just because an individual has sat through the lectures and/or classroom exercises does not mean he or she is going to be an A+ calibrator. Just as with plumbers or general contractors, some calibrators bound to be better than others. Despite what some may tell you, going with an ISF or THX calibrator isn't necessarily going to make up for any deficiencies in his or her tradecraft.
For me personally, after speaking with practitioners of the two systems, many of them adept at both, it was the THX methodology and two of its key calibrators that ultimately changed my outlook on calibration. The two gentlemen in question are Michael Chen and Ray Coronado. Mr. Coronado is someone many of you may recognize now, as his name has come up in several of my recent video reviews. The reason for this is that Mr. Coronado has graciously extended his knowledge and expertise to me (and subsequently to all of you) in order to insure that the figures and raw data expressed in any of HTR's future HDTV and projector reviews is as accurate as possible, though it should be noted that he plays no role in the subjective portion of any display review. I still believe that a well-balanced and useful review is one that possesses enough meat (aka facts) to satisfy tech-savvy readers, yet not be so analytical as to bore or confuse those who may just want to know how best to shop for their next product.
How Mr. Coronado and Mr. Chen went about changing my perspective was simple - they sat me down and talked/walked me through a true calibration session. It was when Mr. Coronado pulled out multiple meters, signal generators, laptop computers and sanctioned test discs that I began to realize that what I had witnessed and/or thought to be true calibration in the past was in fact false. This made me angry, for one never likes to be misled or made to look like a fool, but it also made me even more determined to get the story right. A true THX-level calibration takes time, partially because it requires a lot of measurements (none of which are by eye) and also because the THX system calls for customer interaction. Believe it or not, the THX methodology calls for the customer to not only be present, but to also play an active role in understanding what is happening to the display. That was a huge 180-degree change from what I'd been told/shown previously, for getting permission to sit in on other calibrators' work sessions was like pulling one's own teeth, which explains a lot of the confusion, misinformation and secrecy surrounding the topic. The entire process took three hours. I'm told usually only takes about 90 minutes, but because I was asking question after question, it took a bit longer. At the end, we compared my reference Anthem LTX 500 (JVC) projector's image against what I had done using methods imparted to me by so-called professionals, and then what had been achieved by Mr. Coronado and the THX method. The two weren't even close. Furthermore, Mr. Coronado managed to squeeze more light output out of my aging projector, yet kept contrast and black levels at reference levels, whereas I had sacrificed both via my methods in order to brighten up my image somewhat. Furthermore, my colors were wildly inaccurate, which isn't surprising, given that you can't calibrate color (or grey scale, for that matter) by eye, no matter what any person or filter pack says. In the end, after an entire evening spent calibrating both my Panasonic plasma and Anthem D-ILA projectors, the results were in: calibration is important, it makes a difference and, while people may still have a hard time understanding it, it's not something manufacturers can provide for you out of the box.
But true professional calibration needn't be scary. First you have to decide if you're a candidate for calibration. This is simple - not everyone needs calibration. Wait, what? It's true. Many casual viewers, for instance, my parents, aren't really going to benefit from full professional calibration because, well, they're not that interested in critical viewing. Chances are that when they watch, they're also doing other things, like glancing at a magazine or carrying on a side conversation. Sure, they watch their favorite programs in earnest, but even then they're more engrossed in the story as opposed to the visuals. For my parents, and viewers like them, getting them to switch their displays to a more acceptable preset such as Standard, Movie or, better still, THX is going to be enough. Those who fancy themselves savvy but not anal-retentive will be well-suited with a copy of Digital Video Essentials on DVD or Blu-ray, as it will help them set brightness, contrast and color (by eye), which will be an improvement, in conjunction with a preset picture mode such as Movie or THX. The two above methods represent image adjustment, not calibration. Make no mistake: image adjustment is better than no adjustment or simply relying on a factory preset, but don't mistakenly view it and/or call it calibration, for it simply isn't. Why? Because our eyes constantly lie to us.
Calibration can only be carried out using calibrated measurement tools that take human error (provided your calibrator understands what he/she is doing) out of the equation. Calibration therefore is the last stop for those who want a) to extract the very best from their HDTV or projector investment and b) the peace of mind that comes from knowing they're seeing the image as it was intended to be seen by the filmmakers (again, provided the filmmakers took the care to have their displays/systems calibrated).
So how much does it cost? Well, calibration can cost anywhere from about $300 to however much a calibrator feels he or she can charge. Generally, I've found rates to fall somewhere between $250 and $600, depending on the individual's skill level, equipment and experience. Do your homework, ask for references and don't rush to hire the first one you spot, for doing your due diligence will pay dividends down the road. Sadly, there is no Angie's List for calibrators (though I'm told one might be in the works), so it's important to ask around and educate yourself. One way that calibration can actually help save you money is if you haven't yet purchased your new or next HDTV. If you currently have an HDTV but are dead set on buying a new one, maybe you should have your old one calibrated first and see if that doesn't change your opinion on having to buy a new one. More importantly, speaking with a calibrator before making a purchase can save you money. You see, calibration endeavors to bring whatever display you have or are thinking of purchasing to SMPTE standards, which many modern displays can achieve regardless of price. That's right, an affordable display from, say, Costco can be made to look as good or as accurate as a multi-thousand-dollar reference display touted on sites and in magazines like HTR. Knowing this, you can then base your purchase on which features (non-picture related) you want in your new HDTV, which may save you money. Speaking with a calibrator beforehand can only help, for chances are that they've calibrated many of the displays you may be considering and therefore can help guide you in the right direction.
So there you have it, some 1,800 words later, a partial retraction, apology and reaffirmation on the importance of display calibration. Do I regret my earlier comments? No, but I'm not above admitting that I was wrong. I hope that all of you, like me, have learned a little more and are better prepared to take the next step in your journey towards display and/or home theater perfection.
2012年7月18日星期三
Pioneer AV Receivers with THX certified
News from THX
Pioneer & THX
Pioneer Electronics was the first manufacturer to introduce a THX Certified Blu-Ray player (BDP-09FD) back in 2008. Its design philosophy was simple – to be the best DVD, CD and Blu-Ray player available for purchase. Today, Pioneer offers multiple THX Certified Audio/Video Receivers (AVRs) which represent top performance in their class. Regardless of room size and connection needs, Pioneer is certain to make a THX Certified AVR that will impress even the most discerning audiophile.
....for more please visit THX website: http://www.thx.com/consumer/home-entertainment/partners/pioneer-partner-page/
2012年6月15日星期五
2012年6月14日星期四
2012年6月10日星期日
Nice to meet you, my name is Alois!
囝囝Alois喺威院住咗7日之後卒之喺噚日出院返屋企了，先要多謝威院7K病房內所有的醫護人員悉心嘅照料，同時希望病房內的其他小朋友可以快啲出院返屋企陪家人。
另外第一晚過夜可以用震撼喺嚟形容，基本上係全晚無得瞓，不停餵奶、掃風同換片，之後都係餵奶、掃風同換片，幸好日間有陪月姐姐幫手可以枓一抖，不過都真係辛苦太太。
希望我哋可以快啲習慣新生活，揍到Alois肥肥白白。
2012年6月2日星期六
2012年6月1日 Anthony榮升做爸爸了
2012年6月1日對Anthony嚟講可以話十分難忘，第一件事係太太為我地嘅家庭帶嚟新成員，Anthony做咗爸爸了，而第二件事係Anthony第一次喺AV雜誌寫嘅文章亦係喺同日見街。
借此感激各方嘅祝福同問候，謝謝!
借此感激各方嘅祝福同問候，謝謝!
2012年6月1日星期五
2012年5月28日星期一
[BD]Safe House 滅口佈局 超簡評
故事簡介： 新進中情局探員韋斯頓（賴恩雷諾士 飾）被派駐南非開普敦的安全屋已達一年，日子百無聊賴。被投閒置散的他一直未能一展抱負，直到安全屋來了一名「客人」－危險人物霍斯（丹素華盛頓 飾）。霍斯自變節後已逃亡十年，他曾是中情局最出色的探員，但叛變後卻販賣國家軍事機密，令國家受重大的威脅。而這次他落網背後原來隱藏著重要的秘密……當霍斯到達安全屋時，一群來歷不明的僱傭兵突然襲擊安全屋，更將其摧毀！千辛萬苦逃脫後，身份對立的韋斯頓和霍斯被迫攜手合作，追查幕後主腦究竟是恐怖分子，還是有內鬼要置他們於死地？韋斯頓應該相信的，是中情局的同僚，抑或眼前的極度重犯？
這套由Daniel Espinosa 執導的Safe House的拍攝手法甚有Jason Bourne的感覺，節奏都以明快為主，而不論聲畫都稱得上上階之作，不論搶戰場面還是背景配樂都絶對可以用作試機之用，Anthony誠意推介。
2012年5月27日星期日
[BD]金陵十三釵超簡評
重點新音效，唔覺特別，要試機係得開頭一段，
畫質都係一貫水平，未見特出，
但故仔幾好睇，兩個多鐘唔覺悶，就算文戲都幾好，
香港版Blu-ray碟可以搶先推出新音效都值得支持。
2012年5月23日星期三
分享一編有關討論HDMI表現的文章
感激網友siuping兄於影音討論區分享了來自Expert Reviews網站的一編文章，文章是討論到底不同的HDMI線材的表現在Digital的世界上是否都一樣，還是價格反影表現。
http://www.expertreviews.co.uk/home-entertainment/1282699/hdmi-investigated-are-expensive-cables-a-scam/4
當中的結果是各位的預料之內還是之外呢?
2012年5月21日星期一
Googleli兄挑戰極限的140吋大銀幕血淚史(安裝編)
到訪提供意見
早前收到網友Googleli兄的電話表示剛剛搬新居，由於新居只有他一人住，因此可以大攪影音工程，所以要請了Anthony到訪他的新居，希望Anthony可以提供一些意見。當踏入Googleli兄的新居第一個感覺是十分大，Googleli兄將原本橫向的大廳拉直，並將三百多呎的大廳用作視聽室，而整個廳的傢俬只有一個影音架及一張sofa，加上一幅十幾呎的全海景的大玻璃，相信如此的影環境很多香港影音發燒友恨都恨唔到。
當日視察過Googleli兄的環境後Anthony認為投影幕可裝幕於窗門的位置，而因其面樓底高加上面積大，Anthony估計可以安裝160吋的投影幕，是，是160吋! 但等等....160吋連幕外縠足足有十二呎長，一般住宅大廈的升降機入到120吋已經要還神了，160吋十成十一入唔到。加上以Googleli兄所坐的視覺距離160吋可真過大，所以Anthony建議若大廈升降機能容納到150吋不妨考慮用150吋，因為人生無有幾多次可以玩得如此瘋狂!但一切以升降機容納到投影幕連外縠的長度為首要條件。
計劃受阻
後來收到Googleli兄的電話表示為求安全最後他買入OS的140吋電幕，而投影幕需要三星期後才運到，希望Anthony可以找師父幫手安裝。五月中的一天再收到Googleli兄的電話表示幕已到了香港，但幕身太長入不到升降機，而樓梯亦不夠位讓幕轉灣上樓(要知道Googleli兄家住四十幾樓)。Googleli兄當時十分頭痛，和管理公司、升降機公司、OS代理及影音商鋪的人士不停周漩，但都找不到解決方法。
有好幾次差點要放棄，用回120吋算吧，但這樣就會白白浪費了購買這隻140吋投影幕的金錢，而相信在香港的一般家居玩到而又可以玩140吋的人不多，玩到的亦未必會考慮二手，所以要等有心人接這140吋幕亦不易。到差不多要放棄的時候，幸好Googleli兄找的搬運公司建議可以先將投影幕拆件經樓梯搬上四十多樓之後再重裝。最後師父用了一天時間搬運，一天的時間重裝。而Googleli兄希望Anthony可以立即安排師父上門將他有血有淚搬到家中的140吋大銀幕裝上，Anthony當然不敢怠慢立即安排。同日七時和安裝師父Thomas到達Googleli兄的家中，當時另一位師父正在重裝投影幕中。
挑戰極限
Anthony問Googleli兄最後如何將投影幕搬到家中，Googleli兄表示那位師父十分聰明，做法是先將投影幕和外縠拆掉，再將外縠据成兩份，將幕芯同外縠經樓梯搬上，之後將外縠用幾塊鋁片鑲好以確保外縠不會因据開過而承受不到投影幕的重量。嘩!真是聽到都覺大工程，那位師父表示只要隻幕長多一呎半呎都必定上不到，Googleli兄真是在挑戰極限。
師父正在用鑼絲將早前拆開的外縠以鋁片重新連接
將幕芯重放外縠安好
最好將外縠都封好
其間和Anthony一起來的師父Thomas就按Googleli兄的指示加裝幾個電源蘇位，之後待聰明師父再將投影幕化零為整後，Anthony和師父亦立即動工將投影幕安裝在天花上!
細心的Thomas師父一邊用石屎鑽開窿一邊用吸塵機將灰塵吸走，為免灰塵跌入Googleli兄心愛的器材中
將投影幕安裝好後Thomas師父再三檢查是否穩妥，之後建議Googleli兄要求代理提供多兩個固定架以確保百份百安全
享受成果
就是這樣，一個不可能的任務，經Googleli兄的不言敗精神加上一個聰明師父的幫助而變得可能，並且得以順利完成。而Anthony亦先為Googleli兄的Panasonic AE7000投影機作基本的調校，到投影機運作一段時間入狀態後，Anthony會為Googleli兄用儀器再作一次精確的調校，到時亦會讓各位看看Googleli兄的影音家居全相。
當看到140吋的投影幕慢慢降下，Googleli兄表示雖然為了將投影幕搬上樓用了不少額的金錢及腦汁，但看著如此的大畫面，其所帶來的感動，所用的金錢和努力都是值得!各位要知道Googleli兄本身是一位專業人士，平日公事十分繁忙，但他在處理這次事宜上不是以"錢我是付，你們幫我想辬法，不要煩我"的態度，Anthony絶對相信如没有Googleli兄的積極參與，140吋的畫面一定不會出現他的家中，這就是真正的影音發燒友。
最後時間都不早了，Anthony亦和Thomas師父儘快收拾好工具離開，好讓Googleli兄可以看看他挑戰極限的140吋大銀幕!
看看站在投影幕旁邊的Googleli兄就可以想像到140吋的畫面是如何震撼!
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