New Technology Reviews!.: Cinema

10 3D movies and shows to watch out for

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As well as an increasingly good choice of quality 3D Blu-ray movies, 3D TV broadcasters such as Sky and Virgin Media in the UK are already promising viewers lots more quality 3D content later this year and beyond and we've gathered together 10 of the best new shows and movies below.</div>
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Sky, in particular, is really pushing the development of quality 3D TV content in the UK (and beyond), announcing this week that it has now formed a brand new 3D production company, Colossus Productions.</div>
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It has teamed up with leading UK Independent producer, Atlantic Productions, producers of the BAFTA award-winning Flying Monsters 3D and follows the recent confirmation of new 3D output deals with Disney, Discovery Networks and MTV.</div>
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And, most importantly of all for fans of 3D cinema, it looks like Hollywood has been listening to recent criticisms from the TV industry about the dodgy quality of a lot of its recent 3D output, with the major Tinseltown studios clearly stepping up their 3D game later this year and beyond.</div>
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Talk about the future of the 3D medium is no longer centred on James Cameron's sequel to the technically ground-breakingAvatar, which speaks volumes about the number of other major 3D projects now in development.</div>
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"The bad news is that Hollywood took the interest and mild excitement that people had for 3D and spewed out several movies that were either outright poor all over the place, or were poorly converted to 3D in post-production," says Adam Taylor, Adotomi agency analyst and 3D expert, in summary of the state of 3D play in the cinema industry.</div>
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"The good news is that with Avatar, the 3D genie is out of the bottle and if directors really want to wow the audience in terms of special effects, it's got to include 3D."</div>
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Taylor's tip is to look out for the big name directors that you trust the most in cinema. Which isn't actually too difficult, with major 3D productions currently underway from the likes of Francis Ford Coppola, Martin Scorsese, Steven Spielberg, James Cameron, Ridley Scott and Peter Jackson.</div>
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Whether you plan to catch up on Sky's forthcoming 3D Meerkats or sample the music festival delights of Bestival 3D on your 3D TV in the comfort of your own home, or want to know which 3D movies you should be looking out for at your local multiplex over the next year or two - here are the definitive top ten 3D movies and TV programmes on the way to you soon.</div>
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1. Ridley Scott's 'Prometheus' - due June 2012</div>
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With Guy Pearce, Charlize Theron and Idris Elba playing three of the lead roles, it's fairly easy to see why sci-fi fans are already getting excited about Scott's forthcoming 3D masterpiece.</div>
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"Ridley Scott's return to science fiction would be excitement enough and while it's too bad that it's not a full-blown 'Alien' prequel, it's close enough," says Adam Taylor.</div>
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2. Francis Ford Coppola's 'Twixt' - due late 2011</div>
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True to form, Coppola's first major 3D movie is going to take a slightly different twist, encouraging the audience to don 3D glasses only at certain moments and scenes throughout the picture, using on-screen visual clues to let you know when to take your glasses on and off. It's a massive gamble, but one his legions' of fans are praying will pay off.</div>
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The story focuses on a has-been writer who gets caught up in a murder mystery while away on a book tour. This unconventional 3D film stars Val Kilmer, Bruce Dern and Ben Chaplin, with Coppola describing Twixt as "one part Gothic romance, one part personal film, and one part the kind of horror film that began my career" – adding that the idea for the story came to him in a dream and was also inspired by the writings of Edgar Allen Poe and Nathaniel Hawthorne.</div>
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3. 3D Bestival - due September 2011</div>
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Forget about the BBC's impressively-good blanket coverage of the Glastonbury festival each year. Sky plans to 1-up the Beeb this year, by broadcasting the Bestival festival in glorious 3D in September.</div>
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Which means, should you not be able to drag your sorry self to the Isle of Wight this coming autumn to enjoy all of Rob Da Bank's fun-and-frolics in real life, you can at least still pretend you were there by watching the whole thing on your new 3D TV.</div>
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"In what is undoubtedly our finest year to date, which will include sets from The Cure, Pendulum, Primal Scream presents Screamadelica, PJ Harvey, Brian Wilson and DJ Shadow amongst a huge and ever-growing line-up of musical treats, Bestival 2011 hurtles headlong into the future, adding a whole new dimension to our televisual shenanigans, breaking new ground for festival entertainment with a super-generous seven and a half hours of Bestival 3D TV on Sky this coming September" says Da Bank.</div>
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"It's amazing to be part of the world's first 3D TV festival extravaganza on Sky. Bestival in 3D will be a mind-blowing explosion of colour and multi-dimensional music and mayhem and it's great to be working with Whizz Kid again to bring it to life. Having Camp Bestival too as part of the Sky festival season means we've got a great summer of TV ahead."</div>
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4. Martin Scorsese's 'Hugo' - due September 2011</div>
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That's right. Scorsese! He of Goodfellas, Mean Streets and Casinofame is actually planning on making a charming 3D family and kids' movie called Hugo.</div>
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Scorsese's new 3D movie is an adaptation of Brian Selznick's popular children's adventure, starring Ben Kingsley, Christopher Lee, Emily Mortimer, Helen Jude Law, Ray Winstone, Sacha Baron Cohen and a load of other major AAA-stars.</div>
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Chloë Moretz says that the movie is: "Neverland and Oz and Treasure Island all wrapped into one." Which sounds utterly magical. Let's hope it is!</div>
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5. Steven Spielberg's 'The Adventures of Tintin: Secret of the Unicorn' - due late 2011</div>
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Spielberg does Tintin, in which our French adventurer and his chums discoverer directions to a sunken ship commanded by Captain Haddock's ancestor and head off on a treasure hunt.</div>
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It is fully computer animated, uses the latest motion capture tech in 3D and is directed by one of the greatest filmmakers of our age. What could possibly go wrong? (Hopefully nothing)</div>
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< class="pageBreak">3D to watch out for: 6-10></div>
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6. James Cameron's Avatar sequel - Avatar 2 - due 2014</div>
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Yes, you read that correctly. The sequel to Avatar is not actually scheduled for release until 2014. Which seems a hell of a long time to wait for those people who genuinely liked the first movie (as a movie, and not as a 2-hour-plus tech demo, that is).</div>
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3D-movie evangelist Cameron is also apparently looking to shoot some footage seven miles underwater in the Challenger Deep, the deepest location on earth. How the hell he is practically going to manage that is still to be revealed. We only hope that it doesn't take his focus away from storytelling, character and dialogue…</div>
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7. The Hobbit: An Unexpected Journey - due December 2012</div>
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There is pretty much no question that The Hobbit in 3D is going to be one of the biggest 3D movies of 2012.</div>
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With Ian Holm, Elijah Wood, Ian McKellen, Cate Blanchett, Orlando Bloom, Benedict Cumberbatch, Stephen Fry, Christopher Lee and a host of other AAA-Hollywood talent joining Peter Jackson in re-making one of the greatest fantasy stories of our age in 3D…</div>
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8. Brave from Pixar - due 2012</div>
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With Kelly MacDonald, Emma Thompson and Robbie Coltrane involved in the next major new 3D movie from the cinema tech ninjas at Disney Pixar, it is obvious why cinephiles are looking forward to Brave.</div>
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This new Pixar movie is set in Scotland "in a rugged and mythical time" telling the story of Merida, who likes archery and is described as "an impetuous daughter of royalty" looking to put things right after she makes a number of unfortunate mistakes.</div>
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9. 3D Meerkats - Sky - due October</div>
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Meerkats in 3D. Who is not going to want to watch that? Surely only a true cynic that has had their heart and soul surgically removed by their own misplaced contempt for modern life?</div>
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Caroline Hawkins and her Oxford Scientific 3D movie crew are currently putting the finishing touches to their latest meerkat doc, following the hugely successful four Meerkat Manor series and the Flower movie "Meerkat Manor: The Story Begins".</div>
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<img alt="Meerkats 3d: is one of sky's biggest 3d nature documentaries this year" class="aligncenter" height="189" mce_src="http://mos.futurenet.com/techradar/classifications/images/Meerkats%203D-420-100.jpg" src="http://mos.futurenet.com/techradar/classifications/images/Meerkats%203D-420-100.jpg" style="border-width: 0px; clear: both; color: #444444; display: block; font-family: Georgia,'Bitstream Charter',serif; line-height: 1.5; margin: 0px auto 12px; max-width: 640px;" width="252" /></div>
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"The footage gathered so far has been extremely good. The 3D effect is truly amazing, you really feel you can reach out and touch the meerkats. We've had a few impromptu screenings at the reserve and everyone has been transfixed," says Hawkins.</div>
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10. The Amazing Spider-man - due 2012</div>
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Spider Man 4(or whatever the fans may call it) may not have Tobey Macguire playing our favourite super-hero, yet it is said to be something of a re-boot in the series, featuring that guy out of The Social Network (Andrew Garfield) as Spidey instead of Macguire.</div>
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Can Garfield cut it? It's one of the most highly–anticipated 3D movies since Avatar. So one would certainly hope he can!</div>
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10 3D movies and shows to watch out for

As well as an increasingly good choice of quality 3D Blu-ray movies, 3D TV broadcasters such as Sky and Virgin Media in the UK are alre...

Gary Marshall: Secret censors could cripple the internet

The Open Rights Group has published details of secret plans to censor the internet - plans which, if implemented, would probably see the ORG site booted off the net for copyright infringement. The plans are being developed by a motley crew of organisations including the Football Association Premier League, the Publishers Association, BPI (British Recorded Music Industry) Limited, the Motion Picture Association and the Producers Alliance for Cinema and Television. Only one group representing consumers has been allowed in - Consumer Focus - and that was only for the most recent meeting. CF has "serious concerns" [PDF]. So do we. As Consumer Focus points out, the plan is to make ISPs block allegedly offending sites within two hours. The process, it seems, goes something like this: BIG COMPANY: Oi! Judge! This website's made of villains and evil! JUDGE: Blimey, what a well-researched and argued case, with lots of supporting evidence! Let's block it forever! The leaked document says that "sound internet policy should encompass notions of accountability to incentivise private sector participants to take commercially reasonable steps, where available, to prevent or limit those harms that flow from the products or services they offer." In other words, it's up to ISPs to block bad things. This week, bad things include MP3s and streaming football matches. Next week, who knows? One-sided argument There are several problems here. The first is that the discussions are secret, so we're not supposed to know who's there or what they're talking about. The second is that the participants are almost all from one side of the argument, the sod-freedom-we've-got-profits-to-protect side. And the third is that blocking is a bloody stupid idea, especially if it involves permanent blocks with just two hours' notice. Things are bad enough now - action against Lulzsec took Pinboard and Instapaper offline for no good reason and if lobbyists get their way, that's going to happen all the time. That was the FBI. Reckon the BPI will do a better job? The proposals say that they would "give responsibility to rightsholders to initiate action where the evidence is that the sites in question are substantially focused on infringement of copyright." I'm willing to bet that the definition of "substantially focused on infringement" means "hosts an MP3, or maybe an illegal ePub". The proposals say that censorship means there will be less need to target individuals, presumably because if they can shut down entire domains then nobody will be able to do anything worth suing over. And everything will be overseen by a "council" and an "expert body" that, if the current discussions are representative, would consist of representatives from the copyright industries rather than consumer groups. As Consumer Focus puts it: "we do not believe that it is appropriate for two non-judicial bodies to broadly interpret existing case law, effectively establish new copyright law, and direct the Applications Court to issue a permanent injunction, without a trial." <a href="http://da.feedsportal.com/r/106214978175/u/49/f/9809/c/669/s/161cb839/kg/221-239/a2.htm"><img alt="" border="0" src="http://img685.imageshack.us/img685/2138/12911046.gif" /></a><img alt="" height="1" src="http://img849.imageshack.us/img849/4200/96600368.gif" width="1" />

Gary Marshall: Secret censors could cripple the internet

The Open Rights Group has published details of secret plans to censor the internet - plans which, if implemented, would probably see the ORG...

Blu-rays for home cinema nuts: The Expendables

<img src="http://cdn.mos.techradar.com//classifications/home-entertainment/tv/images/expendables_bd3-200-200.jpg"> Home Cinema Choice - part of the TechRadar network - has revived its Blu-ray of the week for home cinema enthusiasts and is recommending that you all go out a purchase a copy of The Expendables. Cut from the same cloth as pretty much any 80s action movie starring, Schwarzenegger and Stalone, the Expendables is a blast on Blu-ray, as Mark Craven, deputy editor of Home Cinema Choice, explains: "Released this week in a sumptuous 'Bullet-Proof' Limited Edition steelbook set, Sylvester Stallone's adrenalin-fuelled 80s action movie throwback is pure popcorn fun. "The Italian Stallion joins forces with a platoon of genre icons (including Jason Statham, Mickey Rourke, Dolph Lundgren, Jet Li, Bruce Willis and Arnold Schwarzenegger) to deliver 103 minutes of stunts, explosions and hammy dialogue. "Lionsgate's Blu-ray may not offer the most striking picture around, as the AVC 2.40:1 1080p encode is hampered by the film's numerous nighttime locations and interior shots, but it's still a vast improvement on the DVD. "The audio, meanwhile, is reference-grade stuff, with a DTS-HD Master Audio 7.1 mix that fills your room with zinging bullets and thunderous low-level bass – the kind of soundtrack that deserves to be played loud and proud." <img alt="Expendables" src="http://mos.futurenet.com/techradar/classifications/home-entertainment/tv/images/expendables_bd4-420-90.jpg" width="420"></IMG> Craven continues: "Another major reason to pick up this steelbook set is that it packs a bonus DVD housing an in-depth 88-minute documentary, called Inferno: The Making of The Expendables, where Stallone takes us behind-the-scenes to see exactly what happens when a group of action movie legends get together to blow things up."

Blu-rays for home cinema nuts: The Expendables

Home Cinema Choice - part of the TechRadar network - has revived its Blu-ray of the week for home cinema enthusiasts and is recommending t...

Curzon unveils the first on-demand 'cinema'

<img src="http://cdn.mos.techradar.com//classifications/computing/internet-and-broadband/images/curzon-ondemand-200-200.jpg"> Independent cinema specialist Curzon has revealed that it is bringing its movie ethos to the web, with the launch of Curzon On Demand. Curzon has announced that it will be running its on-demand channel the same way it runs its cinemas, carefully selecting the right movies for the channel and even putting indie films it shows in its cinemas on the service as well. In a release, it said about the on-demand launch: "Curzon On Demand uses the latest technology to deliver a cinema experience in the home or on the move. "The site provides greater access to theatrically released films, giving audiences unable to visit cinemas the opportunity to see such films." Watershed moment The big bonus is – if you have a web service that can handle it – all of the movies will be shown in HD. Skip Fidura, Managing Director of dotAgency who created the website for Curzon said: "The Curzon On Demand site represents a watershed moment in the way we consume online media. It's a bold move, underpinned by technology that really pushes the boundaries of what is possible online." Films on the site are going for around £4.00 and you have a week to watch your purchase as many times as you want. Curzon is also promising web-only movies and launches with Mathieu Amalric's burlesque comedy On Tour, winner of the Grand Prix at Cannes 2010, and British drama In Our Name – both available 10 December, at the same time as their theatrical releases. Go to <a href="http://www.curzoncinemas.com/film_on_demand/">www.curzoncinemas.com/film_on_demand</A> for more details.

Curzon unveils the first on-demand 'cinema'

Independent cinema specialist Curzon has revealed that it is bringing its movie ethos to the web, with the launch of Curzon On Demand. Curzo...

Review: Apple 27-inch Cinema Display

<img src="http://cdn.mos.techradar.com//Review%20images/MacFormat/MAC%20229/MAC229.rev_canon.27cinema_display-200-200.jpg"> Apple kit's never cheap, and the Apple 27-inch Cinema Display, stunning though the image is, does little to break that notion. At £899 before January's VAT rise, this costs more than an 11-inch MacBook Air, although you do get a heck of a lot more screen space. The panel packs in 2560x1440 pixels, which is more than most 27-inch monitors. You can comfortably fit two Safari windows alongside one another, or even a narrow Twitter client, such as Tweetie, Mail or a web page. The display has in-plane switching (IPS) as well, so colours remain bright and vivid even at tight viewing angles. The picture is bright and pinsharp – text looks fantastic and you can see every detail in a photo. Gradients display well too and there's a clear distinction between 0% and 5% black, as there is between 95% and 100%. Colour gradient bars are smooth, although single-colour consistency isn't as good as we'd hoped for a display of this price. We noticed a slightly darker area along the bottom of the panel, especially with the blue pixels. And with the display showing all-black, it looked noticeably lighter towards the bottom. While this happens with most displays and is dependent on your viewing angle, with the Cinema Display sitting normally on our desk, the lighter lower area felt more pronounced. And, lest we forget, the screen is glossy. This means the picture looks stunning, but you do get a fair amount of reflection. The solution is to try to position it where you won't get light shining on it, but this won't always be possible, so keep this in mind, especially if you intend to do a lot of graphics work. It would have been nice to see Apple offer an antiglare surface, like it does with the 15-inch MacBook Pro. As for other features, it's got an iSight camera, mic, three powered USB ports and built-in speakers. And we were impressed by the sound system, which sounded deep, thanks to the built-in sub-woofer. All this connects to your Mac via a single cable with three connectors on the end - USB, MagSafe power adapter for MacBooks and a Mini DisplayPort. This means it'll work with most Macs from 2009 or later, including the whole current range. But if you're looking to upgrade your monitor and your Mac doesn't have a Mini DisplayPort, you should look elsewhere – getting a converter is costly. The wire's also very short and can't be swapped out for a longer one, so if your Mac Pro tower is under your desk, you may have to fork out for extensions. Height and cost But our two biggest complaints? First, the height of the display: it stands slightly lower than the 27-inch iMac and isn't height-adjustable – we had to use a monitor stand (or a stack of books) to make it ergonomically comfortable, which rather spoils the whole look. Second, there's the little matter of price. £899 is a serious amount of money for a display, especially when you can pick up a decent 27-inch LED display for under £400, though admittedly with fewer pixels. But we'll leave you with this little nugget: at the time of writing, there was a 27-inch iMac on the Apple Refurb Store for £1,169 – so at just £270 more, you could bag a fully fledged computer instead.

Review: Apple 27-inch Cinema Display

Apple kit's never cheap, and the Apple 27-inch Cinema Display, stunning though the image is, does little to break that notion. At £899 b...

Buying Guide: Home cinema projection screens: how to choose

<img src="http://cdn.mos.techradar.com//Review%20images/Home%20Cinema%20Choice/HCC%20187/HCC187.screens.main-200-200.jpg"> At <a href="http://hcc.techradar.com/">Home Cinema Choice magazine</A>, we talk a lot about projectors, and not much about projector screens. But this doesn't mean we don't find screens as interesting, or consider them less important to the home cinema experience. Far from it. One reason we don't review more screens is a practical one; installing and handling such large and cumbersome items can be a nightmare. But the other reason is that the screen market is so diverse, and associated so closely with the specific needs and room conditions of each user, that reviewing individual screens would seem too specific to be worthwhile. The fact is, though, that if you get the screen wrong, then you will be selling your projector short, no matter how expensive it might have been. Which type should I choose? Start off by looking at the different types of mounting options available. There are two main approaches: fixed frame, where the screen is placed in a rigid frame and attached permanently to the wall, or 'roll-away', where it can be rolled up when not in use. Within the latter category there are also various sub-options we'll consider in a moment. For people lucky enough to have dedicated home cinema rooms, the fixed frame approach will often be the simplest, since the screen doesn't need to be hidden when not in use. It's widely considered, too, that permanent screens stay more tautly stretched and thus produce more accurate pictures. Roll-away screens are obviously a great solution for people trying to accommodate a home cinema setup in a room that also gets used for other activities, such as a living room. The most basic of these screens sit on a roller attached to, or hidden in, the ceiling and the user has to manually pull the screen down when needed. <img alt="pull down screen" src="http://mos.futurenet.com/techradar/Review%20images/Home%20Cinema%20Choice/HCC%20187/HCC187.screens.steve_screen-420-90.jpg" width="420"></IMG> Also very popular is the motorised roll-down variety, where motors drive the screen down into position at the touch of a remote control button. Some projectors carry 12V trigger outputs, in fact, so that they can activate motorised screens automatically when the projector is switched on. If even having a slim roll-out screen housed on your ceiling feels too intrusive, a further, portable option is the pull-up projection panel. these come fixed inside carry cases that you stand on the floor, so that the screen pulls out of the top and is held upright by a collapsible support frame. We've found that the more affordable floor-mounted types may not always stand completely upright or even flat. But the fact that you can put them in a cupboard when you're not using them is a practical benefit that will justify the performance compromises for some. rigidity and perfect flatness, so crucial to a good picture, are often one of the main reasons some projector screens cost vastly more than others, especially in the roll-away department. Projection screen aspect ratios Another key decision is which shape and size of screen you should go for. In terms of shape, there are three aspect ratio options: 4:3, 16:9, and 21:9. For home cinema enthusiasts, the old 'square' 4:3 screen approach is almost certainly a nonstarter these days. Which leaves us with 16:9 or 21:9. If you intend to watch a lot of HD, you will probably be best off with a 16:9 screen that matches the ratio of HDTV material. If you're a die-hard movie fan, though, you might consider a 21:9/2.35:1 CinemaScope screen. After all, most big films now are shot in 2.35:1, and so the majority of Blu-rays are produced with that aspect ratio. However, the situation isn't totally cut and dried. Blu-rays don't currently hold 'true' 21:9 masters (instead adding black bars within the picture data), and projectors don't have true 21:9 pixel ratios. So if you want a full 21:9 experience, you need a projector with a CinemaScope lens attachment – something which can add considerable cost to your projector setup. If you really want the ultimate in Cinemascope clarity you could consider a curved screen like <a href="http://www.anders-kern.co.uk/">Stewart's CineCurve</A> (below). These give a more immersive effect, focus light at your viewing position and compensate for the lens distortion you get with anamorphic lenses. <img alt="curved screen" src="http://mos.futurenet.com/techradar/Review%20images/Home%20Cinema%20Choice/HCC%20187/HCC187.screens.curve_cinema-420-90.jpg" width="420"></IMG> It's curtains for you The existence of multiple aspect ratios explains another popular option: masking, where absorbent material can cover parts of the screen to change the shape of the visible section. On a basic level, this can be done manually using curtains, although it is quite a faff. You can also install a motorised curtaining system external to the screen. But by far the most elegant solutions are high-end fixed screens that have motorised masking, where black borders of absorbent material can be electronically moved out from all four edges of the screen. Such screens usually ship with preset aspect ratios and are selectable using single remote control buttons, but you can usually manually tweak the border locations yourself too. To be really effective, the movable borders on these sorts of projection panels need to absorb light extremely well. And such screens are generally hugely expensive because of both the motors and tracking mechanisms involved. But they're generally an excellent proposition when built well enough, especially if you regularly watch 21:9 material, but don't want a CinemaScope lens or 21:9 screen. Choosing the correct size is more complicated than you might think. Aside from the size of your wall you need to consider at what distance from the screen your audience will sit, which is down to personal preference. When people go to the movies some like to be relatively near the front, others prefer the back, while some will only sit the middle. And so it is at home, where people like to have different screen sizes relative to their preferred viewing position. Screen size also depends to some extent on the quality of your projector and screen. If neither is particularly good, sitting too close will only make you more aware of the shortcomings. Finally, it's a simple fact that how large a screen your projector can drive is dependent on the amount of brightness its lamp can produce. So while 'light cannons' such as Sim2's spectacular C3X Lumis can drive screens many hundreds of inches across, you might find relatively low brightness projectors struggling to keep images looking punchy over 80-100in. We mentioned screen material earlier and it's this aspect of screen selection that's the most bewildering yet, potentially, crucial. The first decision you need to make is quite simple: do you want to mount any speakers behind the screen? If so, you'll need an acoustically transparent, perforated fabric that enables sound to pass through without becoming muffled or blocked. Such fabric can cause problems with reduced brightness and back wall light reflections, as light passes through the acoustic holes. No pain, no gain After this basic decision, though, life gets more complicated. For a start, you have to get grips with the concept of gain. Some screens are high gain, while others are low, with all sorts of ratings in between, and each gain value has its place. Many white home cinema screens tend to be low gain, with values written as 1.0-1.3. these gain figures, rather archaically, describe the ratio of light a screen reflects in relation to the amount of light that gets reflected by an untreated magnesium oxide board. so a 1.3 gain screen will reflect around 30 per cent more light than our lovely magnesium oxide white board. The growing interest in black-level boosting screens that use a grey material rather than white is resulting in gain figures below 1.0 appearing, too. The question of whether you should get a high or low-gain screen, again boils down to matters of taste and, more importantly, room setup. For instance, high-gain screens have reduced viewing angles versus low-gain ones, which could be an issue if viewers will have to sit to the side of the screen. High-gain screens can suffer from hot spots too, where the centre of the image looks brighter than the rest. And finally, high-gain projection panels can damage colour balance, since they don't reflect red, green and blue equally from all viewing angles. But before you discount them, if there's often a degree of ambient light in your movie room, the high-gain variety could be essential. In fact, a few have been developed now with extreme gain properties, specifically to try and emulate (for a fraction of the cost) the performance of, say, a massive (80in plus) plasma screen in a normal living room environment. A particularly outstanding example of this is the screen Innovations <a href="http://www.anthemavs.co.uk/">Black Diamond II</A> we tested in issue 183. Dedicated, blacked out home cinema rooms might be better with more standard-gain screens, though, and possibly even a grey sub-1.0 gain screen. Grey screens were extremely worthwhile a few years ago before projectors started to produce impressive contrasts, but they arguably still have a place even if you've got a good high-contrast projector. <img alt="screen mask" src="http://mos.futurenet.com/techradar/Review%20images/Home%20Cinema%20Choice/HCC%20187/HCC187.screens.imasque-420-90.jpg" width="420"></IMG> If your viewing room is either decorated in light coloured finishes or else houses numerous light furnishings, the way grey screens stop light bouncing around a room could prove very useful. One final consideration is the issue of the quality, finish and weave of the screen you buy. We've heard various cynics suggest that expensive screen materials don't really make a difference. But this is just plain wrong. We've seen first-hand how some screens really can produce sharper, more detailed images with HD than others. Also, some screens can cause a slight moiré effect over areas of fine detail while others don't. Some screens, as previously discussed, are brighter and more reflective than others, and some are better at reproducing a convincing black colour. Some diffuse light right around your room for wide viewing angles, while others focus it right back at you. Some reproduce colours completely neutrally (and thus accurately), others can introduce an underlying tinge of their own or favour certain tones over others, leading to an unbalanced colour palette. We're even starting to see screens appearing now that claim to be better for 3D than others. This might seem spurious at first glance, but actually stereoscopic pictures need utter clarity for high levels of detail and really accurate colour toning to become convincing, so we can understand some screens working better with the technology than others. One of the first screens designed and tested with 3D in mind is <a href="http://www.image-screens.com/">Image screen's Cadre 3D</A>. Finally, the basic quality of the fabric in terms of wear and tear, hanging weight and resilience to rolling, with roll-away projectors, can have a massive impact on long-term viewing. You would be well advised to get help from custom installation experts before finally settling on a screen. And try to partner your projector with a screen of as much quality as you can afford. After all, unlike a TV, a high quality screen should last you a lifetime.

Buying Guide: Home cinema projection screens: how to choose

At Home Cinema Choice magazine , we talk a lot about projectors, and not much about projector screens. But this doesn't mean we don'...

Review: Philips Cinema 21:9 Platinum (58PFL9955H)

<img src="http://cdn.mos.techradar.com//Review%20images/TechRadar/Home%20Entertainment/Philips%20Cinema%2021-9%20Platinum/HCC190.lb_phil219(3)-200-200.jpg"> Philips' <a href="http://www.techradar.com/reviews/audio-visual/televisions/plasma-and-lcd-tvs/philips-cinema-21-9-56pfl9954h-607652/review">first cinemascope (21:9) ratio TV</A> sent shockwaves through the home entertainment universe when it launched in 2009. A TV that delivered widescreen movies without black bars at the bottom and top of the image was a daring step that helped separate the Dutch brand from its Far Eastern rivals and earned it numerous plaudits. Now it's revisited the concept, but added 3D playback and direct LED backlighting to create an even more cutting-edge product, dubbed the Cinema 21:9 Platinum. At 58-inches it is four inches larger than its predecessor and replaces the latter's cheap-looking plastic bezel with an alluring black brushed aluminium frame with rounded edges. And where the earlier model sported a low-slung speaker bar, this one now hides its drivers out of sight. Its £4,000 price tag slots it into the upper echelons of the flatscreen market alongside the likes of Samsung's UE55C8000, <a href="http://www.techradar.com/reviews/audio-visual/televisions/plasma-and-lcd-tvs/panasonic-tx-p65vt20b-715231/review">Panasonic's P65VT20</A> and <a href="http://www.techradar.com/reviews/audio-visual/televisions/plasma-and-lcd-tvs/sony-bravia-kdl-60lx903-711511/review">Sony's 60LX903</A>. Of course, not everyone will hanker for an ultra-wide TV; those after a similarly specified conventional set should look instead to <a href="http://www.techradar.com/reviews/audio-visual/televisions/plasma-and-lcd-tvs/philips-32pfl9705-710993/review">Philips' 9705 series</A> (46, 40 and 32inches), which offer pretty much the same picture processing and features but in a regular 16:9 size. <img alt="Philips cinema 21:9 platinum (58pfl9955h)" src="http://mos.futurenet.com/techradar/Review%20images/TechRadar/Home%20Entertainment/Philips%20Cinema%2021-9%20Platinum/HCC190.lb_phil219%281%29-420-90.jpg" width="420"></IMG> Reading the features list for the Cinema 21:9 Platinum can be a bit exhausting. Philips has crammed its flagship screen with so many processing tricks and pixel-tweaking algorithms that it's a wonder it doesn't topple over. First, though, the connections, of which there should be enough for all but the most gadget-obsessed buyers. They include four HDMIs (including one HDMI v1.4 for your 3D Blu-ray player), component, Scart and composite video inputs, PC D-Sub, Ethernet and a couple of USBs. Some of these are side-mounted for easier access. Not bad, then, although the original 21:9 TV carried five HDMI jacks, an extra Scart socket and an S-video input. The Ethernet port gives you the options of both DLNA home networking, and hookup to Philips' impressive Net TV content portal. There's also built-in Wi-Fi for the cable-phobic. A three-sided version of Philips' Ambilight system emits pools of coloured light corresponding to whatever is on screen from the left, right and top sides of the bezel to create a more immersive effect and subjectively improve contrast. This familiar feature is now able to adjust its light output to compensate for the colour of your walls. Also new to Philips' top-end TVs (including the regular 16:9 9705 series models) are some additional picture processing features to the Pixel Perfect HD engine, including 400HZ Clear LCD, Bright Pro and Super Resolution. Respectively, these claim to lower the TV's response time to just 0.5ms, improve brightness without affecting black levels and sharpen even HD sources. These join forces with Perfect Natural Motion smoothing technology, Perfect Contrast (which aims to deliver a 10,000,000:1 contrast ratio) and LED Pro backlighting. This last feature describes the 1,000-plus LEDs that sit behind the LCD screen in more than 200 individually controllable sectors, an arrangement that should greatly improve contrast. Other features worth noting are the TV's MultiView split screen function; music, video and photo playback from USB and surround sound hookup via the HDMI audio return channel. <img alt="Philips cinema 21:9 platinum (58pfl9955h)" src="http://mos.futurenet.com/techradar/Review%20images/TechRadar/Home%20Entertainment/Philips%20Cinema%2021-9%20Platinum/HCC190.lb_phil219%282%29-420-90.jpg" width="420"></IMG> Philips' high-end screens have long been renowned for their excellent hi-def pictures and the Cinema 21:9 Platinum continues that tradition. Feed it a Blu-ray movie and the TV laps it up. HBO's WWII series, The Pacific, looks simply stunning, with clear, sharp images free from noise, with well-resolved, bright, natural colours and some of the most captivating black levels yet seen from an LCD screen. The result is a cinematic experience that'll have you engrossed. In particular, the rear-mounted LED system ensures that the light pooling often seen on edge LED models is practically non-existent, so there's little to complain about, even with stern test scenes like white text moving across a black background. These images are achieved with the TV's Cinema picture preset, which seems pretty spot on (it even deselects Perfect Natural Motion – so you know you're watching your source material at the frame rate it was filmed). Anyone with a predilection for insanely saturated colours and artificial-looking smooth motion can call up the Vivid setting. The engrossing nature of the Cinema 21:9 Platinum's pictures is increased by two further things – the Ambilight feature and the unique aspect ratio. Ambilight is, undoubtedly, a gimmick designed to help Philips shift some TVs, but it's one that works; the sympathetic lighting really does heighten your sense of immersion. The same applies to watching widescreen 2.40:1 movies on this cinemascope screen. Using the Cinema 21:9 preset, the black bars disappear, the image fills the screen and everything just seems, well… bigger. It's hard to pinpoint exactly why it's so impressive, but believe us, it is. And purists not sure if they want their full HD sources fiddled with to fit the 2,560 x 1,080-pixel panel can stick with the pixel-matching 'unscaled' option. But where's the fun in that? The good news continues with 3D. Pop on one of the two pairs of supplied 3D glasses (which aren't the most comfortable or stylish ones around), plug in a 3D deck and dim the lights and you'll be rewarded with one of the most impressive 3D displays around. The Cinema 21:9 Platinum's blisteringly bright image works to overcome the darkening effect of the 3D specs and pictures are hardly blighted by the current 3D bugbear of crosstalk. The opening sequences of Monster House, where trees in the background often exhibit ghosting on other LCD-based 3DTVs are almost completely crystal clear. One thing to note about the screen's 3D performance is that it's much better with Ambilight switched off. Even though Philips has adjusted its light emitting technology so that it doesn't cause flicker when the TV is watched with the active shutter glasses, here the effect proves a distraction. 3D requires you to focus on the TV's screen, and nothing else; the soft glowing halo only serves to draw attention to the artifice of the 3D experience. Freeview pictures are the TV's weak link. With no integrated HD tuner, you're left watching low-res channels on a massive screen and that brings with it a few picture issues. For instance, mosquito noise is visible around the characters in The Sarah Jane Chronicles on BBC One, as well as some rather unsubtle colour banding. Of course, Freeview was not devised to be watched on supersize TVs, so it's not the Philips' fault, but these defects serve to highlight the Cinema 21:9 Platinum's one major weakness – the lack of a Freeview HD tuner. <img alt="Philips cinema 21:9 platinum (58pfl9955h)" src="http://mos.futurenet.com/techradar/Review%20images/TechRadar/Home%20Entertainment/Philips%20Cinema%2021-9%20Platinum/HCC190.lb_phil219%283%29-420-90.jpg" width="420"></IMG> The Cinema 21:9 Platinum's superfluous HD pictures are almost matched by its sonic performance. Even with Freeview broadcasts, the TV presents a clean, crisp sound with a warm inviting midrange, thanks to Philips' insistence on including two dome tweeters and two separate midbass woofers – the chunkier build necessitated by the backlit LED Pro obviously meant there was more real estate for the brand's audio engineers to play with. Tweakers can dabble with the sound menus, if they're unhappy with their original audio choice from the setup wizard. Six other preset modes are offered, plus bass and treble boosters. The only criticism is that the TV lacks genuine low-end presence, even with the bass level maximised, and that the Surround option really doesn't add much – it certainly doesn't come close to a genuine 5.1 experience, Even with those caveats, the Cinema 21:9 Platinum still ranks as one the best TVs around for audio. Value The Philips Cinema 21:9 Platinum is good value, even at £4,000. Quality never comes cheap, and this screen is extraordinarily accomplished. Yes, you can get a 3D screen like <a href="http://www.techradar.com/reviews/audio-visual/televisions/plasma-and-lcd-tvs/panasonic-tx-p50vt20b-688360/review">Panasonic's P50VT20</A> for nearly half the price, but you don't get that unique 21:9 display. Ease of use Despite the technology lurking in the Cinema 21:9 Platinum, it's surprisingly easy to get to grips with, and shouldn't pose too many problems to technophobes. For starters, the remote control is brilliantly designed. This curved, brushed aluminium handset sits snugly in the palm of your hand, and is intuitive to use. Philips has decided to limit its controls to the TV only – there are no transport controls for a Blu-ray player, but whoever uses their TV handset for that anyway? – and the result is an uncluttered, well laid out remote that most people will be comfortable with. Another feature that improves ease of use is the TV's picture and sound setup wizard. Perhaps mindful of criticism that its previous TVs have been complicated to calibrate, this function gives owners a five-step walkthrough that adjusts the picture and sound to their preferences. Hardcore AV fans will be appalled, as it doesn't explain what it's doing (you select which of two images you prefer, followed by a choice of three sound options) but it should go down well with a lot of buyers. One area where the Cinema 21:9 Platinum is less than intuitive is its multiple selection of picture ratios. This, of course, is a by-product of its unique form factor, but we believe that the number and naming system could be simplified. Working out whether you want to use Auto Fill, Auto Zoom, Super Zoom, Unscaled or one of the other formats will take some time. <img alt="Philips cinema 21:9 platinum (58pfl9955h)" src="http://mos.futurenet.com/techradar/Review%20images/TechRadar/Home%20Entertainment/Philips%20Cinema%2021-9%20Platinum/HCC190.lb_phil219%282%29-420-90.jpg" width="420"></IMG> The original 21:9 was so nearly a brilliant TV, but was let down by a somewhat plasticky design and bog-standard CCFL lighting system. Philips has addressed those issues and brought full HD 3D into the mix. The result? A brilliant TV. We liked The three-sided Ambilight and the 21:9 format combine to make watching widescreen movies a real immersive experience. 3D movies are presented with visual pop and little in the way of crosstalk. It's neatly designed and full of features. Even the remote control and the TV's audio performance deserve plaudits. We disliked The absence of a Freeview HD tuner takes some getting used to, and the TV is also a little bit chunkier than some of its rivals. Ambilight doesn't suit 3D playback. There's no 2D-3D conversion technology on board. Final verdict Philips' Cinema 21:9 platinum is undoubtedly the most technologically advanced screen you can buy and challenges <a href="http://www.techradar.com/reviews/audio-visual/televisions/plasma-and-lcd-tvs/samsung-ue55c9000-700783/review">Samsung's UE55C9000</A> as the most desirable. It takes superb pictures, boasts solid audio and extensive features and wraps them in a gorgeous, uniquely-shaped frame. Really, the only thing wrong with it is its lack of a Freeview HD tuner – but that doesn't stop it bagging full marks. It's not a question of should you buy one, it's just whether or not you can afford to.Related Links <UL> <LI><a href="http://www.techradar.com/news/world-of-tech/techradar-s-reviews-guarantee-622749">TechRadar Reviews Guarantee</A></LI> <LI><a href="http://www.techradar.com/reviews/audio-visual/televisions/plasma-and-lcd-tvs">Read more HDTV reviews</A></LI></UL>

Review: Philips Cinema 21:9 Platinum (58PFL9955H)

Philips' first cinemascope (21:9) ratio TV sent shockwaves through the home entertainment universe when it launched in 2009. A TV that ...

Philips Cinema 21:9 Platinum – 3DTV coming November

<img src="http://cdn.mos.techradar.com//classifications/home-entertainment/home-cinema/images/Philips-219-3d-1-200-200.jpg"/>Philips has finally offered up a UK release date for its Philips Cinema 21:9 Platinum TV range.The 3D version of Philips' rather good 21:9 series features Bright Pro, 400Hz Clear LCD technology, Perfect Pixel HD processing and Ambilight Spectra 3 - all of whcih combine to create an awesome cinema-like picture quality.Alongside these features there's a number of impressive specs, including: a contrast ratio of 10,000,000:1, 2000 LEDs inside and a decent screen size of 58 inches.3D readyPhilips' Clear LCD technology is key to the 21:9 as it reduces cross-talk. Given that the 21:9 Platinum is a 3D TV this is a vital feature to have, as problems with cross-talk is one of the main bugbears of the technology.The Philips 21:9 Platinum uses active shutter 3D and the TV itself comes complete with a built-in 3D transmitter.There is also internet capabilities on the 21:9, which hooks you up to Philips Net TV. Alongside this is a built-in web browser.The Cinema 21:9 Platinum edition (58PFL9955) comes complete with a built-in 3D transmitter. Annoyingly 3D glasses aren't bundled so you will have to get them through the optional PTA03 pack.The Cinema 21:9 Platinum edition has a November UK release date and will cost £3,999.

Philips Cinema 21:9 Platinum – 3DTV coming November

Philips has finally offered up a UK release date for its Philips Cinema 21:9 Platinum TV range. The 3D version of Philips' rather good ...