Cinema
Specification

Home cinema seating area in low light with integrated equipment and clean cabling.

Audio & Video Specification

Performance targets define how sound and image behave within the room

The design of a home cinema or media room must be carefully considered, with detailed attention applied during the design process and equipment selection.

There are clear performance objectives for both audio and video. Home cinema design is not a subjective engineering process; it is defined by established standards, documents and codes of practice.

All home cinema designs require a careful balance of science and design intent. Every room presents constraints that must be addressed at the design stage, and the most successful outcomes are achieved through intelligent compromise.

We aim to meet performance objectives set to reference level at the listening position for the audio system, as well as appropriate brightness levels for the projected image. The room’s noise floor is equally important, as it affects the perceived dynamic range of the audio. The video image requires careful control of both natural and artificial light, typically coordinated through Cinema Lighting & Shading, to maintain contrast and clarity.

Cinema and media rooms must also be well ventilated and comfortable, with a simple control interface that allows the system to operate clearly and consistently.

SURROUND SOUND VS DOLBY ATMOS

For many people, a surround sound system follows the traditional 5.1 setup: three front speakers for left, centre and right channels, two surround speakers and one subwoofer. This suits small to medium-sized rooms with a single primary listening position.

As room size increases, 7.1 can introduce rear speakers for wider, more balanced coverage. Systems may also expand to 5.2 or 7.2, where additional subwoofers improve low-frequency definition and control rather than simply increasing bass level.

Dark cinema with blue accent lighting and stepped seating

DOLBY ATMOS

The traditional Surround Sound system has been expanded to include overhead speakers, creating a three-dimensional sound field. This extends formats such as 5.1 to 5.1.2, and for larger rooms to 7.1.2 or 7.1.4.

This additional layer allows sound to be positioned vertically as well as horizontally, improving spatial accuracy. As with surround systems, the objective is to enhance distribution and realism rather than increase volume.

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Bedroom seating area with warm, low-glare lighting.

DOLBY VS THX

Dolby develops audio formats and publishes guidelines for speaker placement based on how sound is mixed and mastered within the film industry. These guidelines cover layouts including 5.1, 5.1.2, 5.1.4, 7.1, 7.1.2 and 7.1.4.

THX focuses on how sound is perceived within a room. Based on Tom Holman’s research, THX applies principles that improve listening consistency, particularly in larger spaces. While speaker placement is similar to Dolby in smaller rooms, THX provides alternative approaches for wider coverage and includes certification standards and formats such as THX Advanced Speaker Array (THX ASA).

Dark home cinema seating with acoustic wall panels and a discreet wall keypad.

WIDESCREEN VS CINEMASCOPE

One of the most important decisions you can make about your home cinema is the aspect ratio of the screen: Widescreen or Ultra Widescreen / Cinemascope.

Aspect ratio defines the relationship between image width and height. The most common format is 16:9, used for television and broadcast content. Flatscreen displays are generally limited to this format, while projection allows wider formats such as 2.35:1.

This CinemaScope format is commonly used in film, creating a wider visual composition and a more cinematic image than standard widescreen.

Cinema seating view with side-wall acoustic panels and lighting.

Content is produced in a range of aspect ratios, so no single screen format eliminates black bars. Depending on the source, you may see bars at the top and bottom or at the sides of the image.

In general, Widescreen is suited to broadcast and mixed-use viewing, while Ultra Widescreen is more aligned with film content. However, not all modern films are produced in the wider format, and some continue to use 16:9.

The choice depends on viewing habits. If broadcast content is a priority, 16:9 allows full-frame viewing. If the focus is on film presentation, Ultra Widescreen provides a consistent cinematic format. For projects requiring flexibility, masking projector screens can be introduced, allowing the visible screen area to adjust depending on the content while maintaining correct proportions and reducing visual compromise.