A QA Checklist and Information Repository for the Rest of Us – Part 1

  • One-click download, one click install.
  • It automatically builds an Access Control List pyramid so that a multi-multiplex director can pass it down to multiplexes and then their technical people with ease and security.
  • The database can designate certain data as RESTful, which makes it a critical step for implementing FLM and TKR.
  • Integrates with open source graphics tools such as NVD3.
  • Includes a Journal for disseminating information to employees.
  • Future APIs to enable manufacturers to implement their data front-end for manufacturers testing or monitoring protocols and reports.
  • Any study of Quality Control quickly finds itself centering on the ISO standards of the ISO 9000 family. It has been developed by a world-wide group of interested parties for a number of reasons. They are explained on their website, but one of the purposes and results have been that companies can deal with other companies who have each gone through the ISO 9000 processes and have a great deal of certainty that they are getting what they expect.

    It should be clear that there is no supposition in the ISO protocols that promises the best product in the world. It actually is much easier than that – the company who has done the work to get accredited is merely stating that their systems of operation are designed and controlled and constantly internally certified to generate what they promise. It could be a very standardly produced medium quality product or super deluxe.

    What has happened in the world of very large businesses and many government contracts, the organizations will only purchase their equipment – from carpets and drapes to high-tension steel – from ISO-certified vendors.

    Cool, but what does this have to do with me in the digital cinema-centric projection room?

    Indeed, it may be a goal of the ISO that everyone world-wide will run their operations according to their protocols, but this isn’t going to happen soon. But that isn’t to say that we can’t learn from their techniques. So we’ll express the software toolset being introduced here as being “…in the style of the ISO 9000 principles”.

    In this series we’ll look at some of the nuance.

    First, a quick peek at a first draft video at: DCinema Inventory and Self-Certification Video | Part 4

    Now, to explain the meaning, “…for the rest of us”.

    It is presumed that the larger cinema organizations have proprietary software and procedures in place that catalog each piece of equipment just by the nature of their accounting systems and the interface they have by ordering large numbers of product. But surprisingly, it doesn’t take too long while going down the cinema-organization-size pyramid to find chains who are still running their equipment lists on glorified spreadsheets. Which is OK as far as it goes…there are unfortunately those who don’t even have that, trusting that their suppliers or NOC have organized everything for them.

    What’s the big deal of a big inventory list?

    The software takes the concept of you handing your facility to an intelligent friend while you are on a 3 month sabbatical. Obviously, if you don’t expect to be answering the phone every 5 minutes – or even keep a friendship at the end of 3 months – you better leave as much detail as possible in the hands of your friend. This software’s inventory includes details like the public keys of the trusted devices, and the .bin files of the equipment that uses them. That way, when you friend needs to get a new firewall to replace a dead one, the turnaround time (and headaches of finding all the information already stored) can be minimized.

    But we all know what happens in real life. We put the .bin files on a USB stick that ends up somewhere, or if not lost, isn’t regularly updated. And that introduces the regularized checklists of the system. [Note to self: Discuss the system’s security in the next article.]

    The ISO 9000 style doesn’t designate an enforced daily backup of .bin files. What is suggested is a process and systems approach that provokes analysis – is this best done weekly or monthly, what is being done similarly and in the same category. One can decide to make .bin files monthly or quarterly or perhaps when corporate policy mandated passwords are changed?

    In fact, any every any and every detail that you want to check should be put in one of the daily or weekly or monthly or quarterly or yearly check lists. Many examples and many manufacturers and their equipment models are already in the system.

    Now, you might think that the next most important action is to find the person who will run around filling out all these forms? But that isn’t the way to be, “in the style of ISO 9000”. The most critical person is assigned by the person in charge, the CEO or Executive Director, to be in charge of Quality Assurance. That person gets the mandate from top management as to the quality of service and support they want in their organization. That person may or may not get their budget from or report through Operations, but they mainly report to the CEO. That way they don’t get into an argument about a budget issue – do we deliver this level of quality? or not?

    Part One will end here. In Part Two, more nuance like the importance of keeping some data in a RESTful state, and what it means to be Open Source.

    Two final notes then. One is that the system can be played with at: <www.dcinemacompliance.net> – put the name and password of ‘joew’ into the front page to explore.

    Second is that the software is still pretty ‘alpha’, meaning that what it does it does pretty well, but there is still work to do. And along that line, your author is asking for sponsors to make to help finish this work. Any sponsorship money will go directly and without subtraction to the programmer who has taken the project this far. Click here to contact Charles ‘C J’ Flynn

    Sample Page – Audio Compliance

    A QA Checklist and Information Repository for the Rest of Us – Part 1

  • One-click download, one click install.
  • It automatically builds an Access Control List pyramid so that a multi-multiplex director can pass it down to multiplexes and then their technical people with ease and security.
  • The database can designate certain data as RESTful, which makes it a critical step for implementing FLM and TKR.
  • Integrates with open source graphics tools such as NVD3.
  • Includes a Journal for disseminating information to employees.
  • Future APIs to enable manufacturers to implement their data front-end for manufacturers testing or monitoring protocols and reports.
  • Any study of Quality Control quickly finds itself centering on the ISO standards of the ISO 9000 family. It has been developed by a world-wide group of interested parties for a number of reasons. They are explained on their website, but one of the purposes and results have been that companies can deal with other companies who have each gone through the ISO 9000 processes and have a great deal of certainty that they are getting what they expect.

    It should be clear that there is no supposition in the ISO protocols that promises the best product in the world. It actually is much easier than that – the company who has done the work to get accredited is merely stating that their systems of operation are designed and controlled and constantly internally certified to generate what they promise. It could be a very standardly produced medium quality product or super deluxe.

    What has happened in the world of very large businesses and many government contracts, the organizations will only purchase their equipment – from carpets and drapes to high-tension steel – from ISO-certified vendors.

    Cool, but what does this have to do with me in the digital cinema-centric projection room?

    Indeed, it may be a goal of the ISO that everyone world-wide will run their operations according to their protocols, but this isn’t going to happen soon. But that isn’t to say that we can’t learn from their techniques. So we’ll express the software toolset being introduced here as being “…in the style of the ISO 9000 principles”.

    In this series we’ll look at some of the nuance.

    First, a quick peek at a first draft video at: DCinema Inventory and Self-Certification Video | Part 4

    Now, to explain the meaning, “…for the rest of us”.

    It is presumed that the larger cinema organizations have proprietary software and procedures in place that catalog each piece of equipment just by the nature of their accounting systems and the interface they have by ordering large numbers of product. But surprisingly, it doesn’t take too long while going down the cinema-organization-size pyramid to find chains who are still running their equipment lists on glorified spreadsheets. Which is OK as far as it goes…there are unfortunately those who don’t even have that, trusting that their suppliers or NOC have organized everything for them.

    What’s the big deal of a big inventory list?

    The software takes the concept of you handing your facility to an intelligent friend while you are on a 3 month sabbatical. Obviously, if you don’t expect to be answering the phone every 5 minutes – or even keep a friendship at the end of 3 months – you better leave as much detail as possible in the hands of your friend. This software’s inventory includes details like the public keys of the trusted devices, and the .bin files of the equipment that uses them. That way, when you friend needs to get a new firewall to replace a dead one, the turnaround time (and headaches of finding all the information already stored) can be minimized.

    But we all know what happens in real life. We put the .bin files on a USB stick that ends up somewhere, or if not lost, isn’t regularly updated. And that introduces the regularized checklists of the system. [Note to self: Discuss the system’s security in the next article.]

    The ISO 9000 style doesn’t designate an enforced daily backup of .bin files. What is suggested is a process and systems approach that provokes analysis – is this best done weekly or monthly, what is being done similarly and in the same category. One can decide to make .bin files monthly or quarterly or perhaps when corporate policy mandated passwords are changed?

    In fact, any every any and every detail that you want to check should be put in one of the daily or weekly or monthly or quarterly or yearly check lists. Many examples and many manufacturers and their equipment models are already in the system.

    Now, you might think that the next most important action is to find the person who will run around filling out all these forms? But that isn’t the way to be, “in the style of ISO 9000”. The most critical person is assigned by the person in charge, the CEO or Executive Director, to be in charge of Quality Assurance. That person gets the mandate from top management as to the quality of service and support they want in their organization. That person may or may not get their budget from or report through Operations, but they mainly report to the CEO. That way they don’t get into an argument about a budget issue – do we deliver this level of quality? or not?

    Part One will end here. In Part Two, more nuance like the importance of keeping some data in a RESTful state, and what it means to be Open Source.

    Two final notes then. One is that the system can be played with at: <www.dcinemacompliance.net> – put the name and password of ‘joew’ into the front page to explore.

    Second is that the software is still pretty ‘alpha’, meaning that what it does it does pretty well, but there is still work to do. And along that line, your author is asking for sponsors to make to help finish this work. Any sponsorship money will go directly and without subtraction to the programmer who has taken the project this far. Click here to contact Charles ‘C J’ Flynn

    Sample Page – Audio Compliance

    To USB, or Not To USB…

    What would it mean in the projection booth? DCI hardware, software and firmware requirements are pretty redundant and keep many secrets deep in their mechanisms. The biggest trick would be to get enough data from one trusted device and be able to carry it to a different machine in such a way that it becomes a trusted device.

     

    The way they talk about this USB incursion doesn’t seem to lend that capability any more than if a knowledgable manufacturer tried to do that in their own offices. That route hasn’t been done or, if done, exploited. The proof would be duplicated uncompressed movies with no forensic marking – which hasn’t happened.

    But giving away copyrighted materials isn’t the only bad thing that could happen to a network with a projector on it. As the US Defense Department learned, an entire network can be infiltrated from one USB incursion.

    All the more reason for firm policies/inspections/reports of locked doors and no even authorized persons allowed to roam around the facility.

    To USB, or Not To USB…

    What would it mean in the projection booth? DCI hardware, software and firmware requirements are pretty redundant and keep many secrets deep in their mechanisms. The biggest trick would be to get enough data from one trusted device and be able to carry it to a different machine in such a way that it becomes a trusted device.

     

    The way they talk about this USB incursion doesn’t seem to lend that capability any more than if a knowledgable manufacturer tried to do that in their own offices. That route hasn’t been done or, if done, exploited. The proof would be duplicated uncompressed movies with no forensic marking – which hasn’t happened.

    But giving away copyrighted materials isn’t the only bad thing that could happen to a network with a projector on it. As the US Defense Department learned, an entire network can be infiltrated from one USB incursion.

    All the more reason for firm policies/inspections/reports of locked doors and no even authorized persons allowed to roam around the facility.

    To USB, or Not To USB…

    What would it mean in the projection booth? DCI hardware, software and firmware requirements are pretty redundant and keep many secrets deep in their mechanisms. The biggest trick would be to get enough data from one trusted device and be able to carry it to a different machine in such a way that it becomes a trusted device.

     

    The way they talk about this USB incursion doesn’t seem to lend that capability any more than if a knowledgable manufacturer tried to do that in their own offices. That route hasn’t been done or, if done, exploited. The proof would be duplicated uncompressed movies with no forensic marking – which hasn’t happened.

    But giving away copyrighted materials isn’t the only bad thing that could happen to a network with a projector on it. As the US Defense Department learned, an entire network can be infiltrated from one USB incursion.

    All the more reason for firm policies/inspections/reports of locked doors and no even authorized persons allowed to roam around the facility.

    ADA Proposed Rules re: CC and Audio Description

    It is just a proposed set of rules, but years after the drama of public hearings and the settling of lawsuits and the installation of thousands of pieces of equipment for the deaf, hard of hearing, blind or those with low vision, the ADA has finally said they are ready to set the rules.

    Notice of Proposed Rulemaking Under Title III of the ADA to Require Movie Theaters to Provide Closed Movie Captioning and Audio Description

     


     

    Questions and Answers about the Department of Justice’s Notice of Proposed Rulemaking Under Title II

    Here is a…perhaps the…takeaway sections of the FAQ that the DoJ put out.

    4.) Under what circumstances does the rule propose to require movie theaters to provide closed captioning and audio description?

    The proposed rule does not interfere with a theater owner’s choices as to which movies to exhibit. Whenever a theater intends to exhibit a movie that is available with captions and audio description, then the proposed rule would require the theater to acquire and then exhibit that movie with captions and audio description at all scheduled screenings, unless doing so would result in an undue burden or fundamental alteration. If a particular movie is not produced with captions or audio description, then the proposed rule would still allow a theater to exhibit that movie. The rule does not require movie theaters to add captions or audio description to movies that are not otherwise produced or distributed with these features.

    For background on this long involved process, following are links to articles in this journal very particularly on the DoJ topic. (Yes, I clicked on the Search button above and come up with these.)

    Questions from DoJ Request for Comment; Movie Captioning, etc.

    Transcript DoJ hearing 16 Dec, 2010 Advance Notices of Proposed Rulemakings-Wash

    NATO | HoH Representatives in Chicago DoJ Hearing.pdf

    NATO Verbal Testimony to DoJ Chicago Hearing | 18 Nov 2010

    San Francisco | DoJ Hearings | Highlighted Cinema-centric comments

    DoJ Transcripts: Official Submissions

    There are more if you hit search above.

    ADA Proposed Rules re: CC and Audio Description

    It is just a proposed set of rules, but years after the drama of public hearings and the settling of lawsuits and the installation of thousands of pieces of equipment for the deaf, hard of hearing, blind or those with low vision, the ADA has finally said they are ready to set the rules.

    Notice of Proposed Rulemaking Under Title III of the ADA to Require Movie Theaters to Provide Closed Movie Captioning and Audio Description

     


     

    Questions and Answers about the Department of Justice’s Notice of Proposed Rulemaking Under Title II

    Here is a…perhaps the…takeaway sections of the FAQ that the DoJ put out.

    4.) Under what circumstances does the rule propose to require movie theaters to provide closed captioning and audio description?

    The proposed rule does not interfere with a theater owner’s choices as to which movies to exhibit. Whenever a theater intends to exhibit a movie that is available with captions and audio description, then the proposed rule would require the theater to acquire and then exhibit that movie with captions and audio description at all scheduled screenings, unless doing so would result in an undue burden or fundamental alteration. If a particular movie is not produced with captions or audio description, then the proposed rule would still allow a theater to exhibit that movie. The rule does not require movie theaters to add captions or audio description to movies that are not otherwise produced or distributed with these features.

    For background on this long involved process, following are links to articles in this journal very particularly on the DoJ topic. (Yes, I clicked on the Search button above and come up with these.)

    Questions from DoJ Request for Comment; Movie Captioning, etc.

    Transcript DoJ hearing 16 Dec, 2010 Advance Notices of Proposed Rulemakings-Wash

    NATO | HoH Representatives in Chicago DoJ Hearing.pdf

    NATO Verbal Testimony to DoJ Chicago Hearing | 18 Nov 2010

    San Francisco | DoJ Hearings | Highlighted Cinema-centric comments

    DoJ Transcripts: Official Submissions

    There are more if you hit search above.

    ADA Proposed Rules re: CC and Audio Description

    It is just a proposed set of rules, but years after the drama of public hearings and the settling of lawsuits and the installation of thousands of pieces of equipment for the deaf, hard of hearing, blind or those with low vision, the ADA has finally said they are ready to set the rules.

    Notice of Proposed Rulemaking Under Title III of the ADA to Require Movie Theaters to Provide Closed Movie Captioning and Audio Description

     


     

    Questions and Answers about the Department of Justice’s Notice of Proposed Rulemaking Under Title II

    Here is a…perhaps the…takeaway sections of the FAQ that the DoJ put out.

    4.) Under what circumstances does the rule propose to require movie theaters to provide closed captioning and audio description?

    The proposed rule does not interfere with a theater owner’s choices as to which movies to exhibit. Whenever a theater intends to exhibit a movie that is available with captions and audio description, then the proposed rule would require the theater to acquire and then exhibit that movie with captions and audio description at all scheduled screenings, unless doing so would result in an undue burden or fundamental alteration. If a particular movie is not produced with captions or audio description, then the proposed rule would still allow a theater to exhibit that movie. The rule does not require movie theaters to add captions or audio description to movies that are not otherwise produced or distributed with these features.

    For background on this long involved process, following are links to articles in this journal very particularly on the DoJ topic. (Yes, I clicked on the Search button above and come up with these.)

    Questions from DoJ Request for Comment; Movie Captioning, etc.

    Transcript DoJ hearing 16 Dec, 2010 Advance Notices of Proposed Rulemakings-Wash

    NATO | HoH Representatives in Chicago DoJ Hearing.pdf

    NATO Verbal Testimony to DoJ Chicago Hearing | 18 Nov 2010

    San Francisco | DoJ Hearings | Highlighted Cinema-centric comments

    DoJ Transcripts: Official Submissions

    There are more if you hit search above.

    TrueCrypt and NSA Lessons on Updating Projector Software

    Science and R&D says it will keep moving data from the mystery to the usable.

    Security expertise tries to promise the same, with the same infinite number of possible failures. Fortunately there are life lessons that we can apply to our projection room and attached networked devices from the latest exposition of these failures.

    From the NAB videos of John Hurst’s logical pleas (posted at CineTechGeek) to Bruce Schneier’s Disclosing vs. Hoarding Vulnerabilities article to the flurry of Heartbleed to the news of the well-used TrueCrypt’s announcement…we should get the message: No matter the trauma, or threat of trauma, Upgrade Your Software and Firmware.

    TrueCrypt and NSA Lessons on Updating Projector Software

    Science and R&D says it will keep moving data from the mystery to the usable.

    Security expertise tries to promise the same, with the same infinite number of possible failures. Fortunately there are life lessons that we can apply to our projection room and attached networked devices from the latest exposition of these failures.

    From the NAB videos of John Hurst’s logical pleas (posted at CineTechGeek) to Bruce Schneier’s Disclosing vs. Hoarding Vulnerabilities article to the flurry of Heartbleed to the news of the well-used TrueCrypt’s announcement…we should get the message: No matter the trauma, or threat of trauma, Upgrade Your Software and Firmware.

    Visions of NAB Past…About the Future

    Coming out of the great film to digital transition, it was a great convocation for looking at nuance not heretofore discussed. There are a great number of ‘casts on important topics dealing in the future of DCinema. Of course, as a SMPTE member of several committees, I can’t tell you whether we all know about these things already. But they are important nonetheless:

    NAB2014’s single most important message to exhibitors

    Out of all the activity at NAB2014, there is one presentation that stands out to Cinema Exhibitors.  John Hurst, the father of the software that goes into the making of every bit of DCI equipment presented a panel discussing the problems exhibitors are facing and how it is effecting the whole industry.  How not moving forward with upgrades is costing you money as new features are failing to reach critical mass.  An example of this is TKR (Theatre Key Retrieval) an automated system that would remove the need for dealing with KDMs/Emails. (Email me if you would like more videos covering these new technologies.)

    If you own a cinema, this set of videos are a must watch.

    NAB 2014 – 22 – Looking Forward – Intro and Overview – John Hurst
    NAB 2014 – 23 – Looking Forward – Panel – Mastering houses are front line to problems
    NAB 2014 – 24 – Looking Forward – Panel – Why won’t cinemas upgrade
    NAB 2014 – 25 – Looking Forward – Panel – What we miss out on by not upgrading
    NAB 2014 – 26 – Looking Forward – Panel – Is this harder than it should be and 3D subtitles
    NAB 2014 – 27 – Looking Forward – Panel – Q1, Software based Players Not Secure
    NAB 2014 – 28 – Looking Forward – Panel – Q2, We NEED a deadline for upgrades
    NAB 2014 – 29 – Looking Forward – Panel – Q3, What happened to TKR(Theatre Key Retrieval) and FLMx
    NAB 2014 – 30 – Looking Forward – Panel – Q4, How to fix motivation for upgrading
    NAB 2014 – 31 – Looking Forward – Panel – Q5, Content Marking Issues
    NAB 2014 – 32 – Looking Forward – Panel – Is 2 years long enough to expect upgrades? Not 10+ years

    Visions of NAB Past…About the Future

    Coming out of the great film to digital transition, it was a great convocation for looking at nuance not heretofore discussed. There are a great number of ‘casts on important topics dealing in the future of DCinema. Of course, as a SMPTE member of several committees, I can’t tell you whether we all know about these things already. But they are important nonetheless:

    NAB2014’s single most important message to exhibitors

    Out of all the activity at NAB2014, there is one presentation that stands out to Cinema Exhibitors.  John Hurst, the father of the software that goes into the making of every bit of DCI equipment presented a panel discussing the problems exhibitors are facing and how it is effecting the whole industry.  How not moving forward with upgrades is costing you money as new features are failing to reach critical mass.  An example of this is TKR (Theatre Key Retrieval) an automated system that would remove the need for dealing with KDMs/Emails. (Email me if you would like more videos covering these new technologies.)

    If you own a cinema, this set of videos are a must watch.

    NAB 2014 – 22 – Looking Forward – Intro and Overview – John Hurst
    NAB 2014 – 23 – Looking Forward – Panel – Mastering houses are front line to problems
    NAB 2014 – 24 – Looking Forward – Panel – Why won’t cinemas upgrade
    NAB 2014 – 25 – Looking Forward – Panel – What we miss out on by not upgrading
    NAB 2014 – 26 – Looking Forward – Panel – Is this harder than it should be and 3D subtitles
    NAB 2014 – 27 – Looking Forward – Panel – Q1, Software based Players Not Secure
    NAB 2014 – 28 – Looking Forward – Panel – Q2, We NEED a deadline for upgrades
    NAB 2014 – 29 – Looking Forward – Panel – Q3, What happened to TKR(Theatre Key Retrieval) and FLMx
    NAB 2014 – 30 – Looking Forward – Panel – Q4, How to fix motivation for upgrading
    NAB 2014 – 31 – Looking Forward – Panel – Q5, Content Marking Issues
    NAB 2014 – 32 – Looking Forward – Panel – Is 2 years long enough to expect upgrades? Not 10+ years

    Sound’s Like A Big Thing – CineTechGeek

    And now he shows up in a video of the Cine Tech Geek [CinemaCon 2014 – X-Curve Update with Barry Ferrel of QSC] making a point that may be surprising to people:

    Good Speakers – so the engineer doesn’t get trapped trying to EQ badly designed speakers (or a badly designed room, one presumes)

    Placed Behind Screen – the sound is transmitted (hopefully) through little holes in a membrane stretched tight as a drum from speakers (hopefully) built into a wall that is not to distant from said screen

    Subtract the function of sound in air – if you’re thinking inverse-square, you are right… play with the numbers at Inverse Square Law for Sound

    Something like the X-Curve appears on the RTA as a ‘result’, not a target – give or take a few dB, and with variations in the size of the room, which was requirement to allow for in Ioan Allen’s (of Dolby) original X-Curve paper and in the SMPTE 202M

    James Gardiner makes the point that SMPTE is working on this topic, which is an understatement. A lot of hype has been spilt on the need for the emerging immersive sound techniques to find a common distribution package, but now that the difficult Film To File transition has largely taken place, many more engineers are spending a great deal of time reviewing the basics, going through specifications and recommended practices that evolved but now appear contradictory or merely confusing, and not to be forgotten, how are settled techniques in the analog world different in the digital world.

    Examples of this fundamental research is showing up in hundreds of pages of documents generated while recently testing various rooms around the world, or testing dozens of algorithms of pink noise samples or developing techniques to find what a screen really is doing in the room, or figuring the best methods of consistently measuring luminance or audio in an auditorium. None of this is public since committee work is private until published, but it is easily obtained when one joins SMPTE and participates in the various working groups.

    There are nuances in what Barry says here that could be the subject of 10 slides each, examples being how the ear can discern and ‘deal with’ reflections that microphones can’t account for, or how different frequencies in the transitions between speakers of an array will act different enough that they need to be measured properly, or how EQing to correct speakers (or the room) will make the ear ‘wince’…OK, he didn’t say wince… but using graphic EQs in the recording business came and went surprisingly quickly, before their digital transition in fact, and that lesson should have gotten to the exhibition world back then. We’re talking the late-70’s.

    The desired point of this article is that there is a lot to know and do to make rooms consistently good, and keeping them that way. Putting time into SMPTE committee-work is an excellent way to pay-forward on the benefits received.

    The side point is to make common certain information, such as the requirement to use FFT when setting up or monitoring components of your system. Testing for the level of a single tone is better than not testing at all, but doing real FFT work to find the THD in a component or your system is truly giving relevant and usable information.

    Sound’s Like A Big Thing – CineTechGeek

    And now he shows up in a video of the Cine Tech Geek [CinemaCon 2014 – X-Curve Update with Barry Ferrel of QSC] making a point that may be surprising to people:

    Good Speakers – so the engineer doesn’t get trapped trying to EQ badly designed speakers (or a badly designed room, one presumes)

    Placed Behind Screen – the sound is transmitted (hopefully) through little holes in a membrane stretched tight as a drum from speakers (hopefully) built into a wall that is not to distant from said screen

    Subtract the function of sound in air – if you’re thinking inverse-square, you are right… play with the numbers at Inverse Square Law for Sound

    Something like the X-Curve appears on the RTA as a ‘result’, not a target – give or take a few dB, and with variations in the size of the room, which was requirement to allow for in Ioan Allen’s (of Dolby) original X-Curve paper and in the SMPTE 202M

    James Gardiner makes the point that SMPTE is working on this topic, which is an understatement. A lot of hype has been spilt on the need for the emerging immersive sound techniques to find a common distribution package, but now that the difficult Film To File transition has largely taken place, many more engineers are spending a great deal of time reviewing the basics, going through specifications and recommended practices that evolved but now appear contradictory or merely confusing, and not to be forgotten, how are settled techniques in the analog world different in the digital world.

    Examples of this fundamental research is showing up in hundreds of pages of documents generated while recently testing various rooms around the world, or testing dozens of algorithms of pink noise samples or developing techniques to find what a screen really is doing in the room, or figuring the best methods of consistently measuring luminance or audio in an auditorium. None of this is public since committee work is private until published, but it is easily obtained when one joins SMPTE and participates in the various working groups.

    There are nuances in what Barry says here that could be the subject of 10 slides each, examples being how the ear can discern and ‘deal with’ reflections that microphones can’t account for, or how different frequencies in the transitions between speakers of an array will act different enough that they need to be measured properly, or how EQing to correct speakers (or the room) will make the ear ‘wince’…OK, he didn’t say wince… but using graphic EQs in the recording business came and went surprisingly quickly, before their digital transition in fact, and that lesson should have gotten to the exhibition world back then. We’re talking the late-70’s.

    The desired point of this article is that there is a lot to know and do to make rooms consistently good, and keeping them that way. Putting time into SMPTE committee-work is an excellent way to pay-forward on the benefits received.

    The side point is to make common certain information, such as the requirement to use FFT when setting up or monitoring components of your system. Testing for the level of a single tone is better than not testing at all, but doing real FFT work to find the THD in a component or your system is truly giving relevant and usable information.

    …Like Tangents In Rain