I did indeed say that the "value-add" of the cinema is the projection and sound quality. If your theatre doesn't do that, there is less value and less reason to go to "your" theatre. Not meeting standards would be a "value-subtract." Even the standards have a tolerance range and, in the case of commercial cinemas, a rather generous one in many respects. Seriously 14fL +/-3 fL. That is a full 11fL-17fL swing. It is nearly half of the target value. Sound too has its tolerances. Note as well, only some portions are specified and often in a means to attain a single-number notation that can be uniformly read. There is a lot more to image and sound than you can put into such a notation. I could, personally, set up three theatres that all measure the same and sound very different. Which is the "correct" one? Heck, I'll do you one better...back in the day, with Star Wars I: The Phantom Menace I set up three digital processors (Dolby, DTS and SDDS) on the same theatre, same, speakers, amps, same RTA used...they still sounded different...which is the correct one there? I also discovered that Sony's pink noise was a little deficient in the HF so if you used its internal PN, you'd tend to set an SDDS system a little "brighter." Heck, you could get into a whole lengthy discussion on pink noise itself and what is the "correct" one with what crest-factor.
There is plenty of room within a cinema to both meet standards and value-add the performance.
There is plenty of room within a cinema to both meet standards and value-add the performance.
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