Building a new Work/Grading/Screening Room

[Brad Allen]

This is pretty awesome.

One note I should share is we also thought it was a good idea to put a SAN, LTO deck, Mac Pro, etc in a small cabinet underneath a low ceiling... it turned out that the cabinet the installer chose was designed for audio equipment. Looks great but requires all sorts of crazy external fans, basically no amount of air cooling will ventilate it because there is too much in a small space. Apparently it is not enough that whomever installs your workstation equipment cabinet has done so before for dozens of clients in a major market like New York City... check your components yourself, and get a second opinion on the whole build before you pull the trigger...

R

Good to know Ryan. Hopefully having most of the components and hardware stored underneath with dedicated air-con will help alleviate some of these problems

 

[Brad Allen]

Okay, I've been thinking about how akward a trapdoor might be if I end up using rackmounts in the underneath area. I'm wondering if inverting the slop of the roof would help solve a few problems. This would allow me to raise all of the stairs and levels. This would allow me to enter through the bottom level as I think it would be sufficiently high to push a rack mount through. It would also provide even more storage area underneath + give me room where that trap door would have been. Something like the following:

Any thoughts or problems with this arrangement?

 

[Peter Majtan]

Not at home right now (no access to my computer), just just a quick text reply...

About the trap-door, should You still decide to go for it, I don't see any problems - as long as You make it big enough to comfortable move heavy gear through. Having said that - the higher floors sound definitely as a better idea...
It also makes sense to have the AV stuff right next to You...

The one thing that worries me - regardless of which version of Your setup I am looking at - is Your workstation.
21" displays seems to be the smalles standard these days and they are a lot higher then what You have drawn - which will block Your view of the screen. I was facing the same issue in a setup here in Tokyo where I was actually using 3x 30" screens and needed to see the projection screen. Ended up mounting the two side monitors on a articulated arms, so they can be moved to the sides and agled for me to see the projection screen. The center monitor ended up being on a retractable column that could rise up and down. When I was not using the projector (you won't be using it all the time), I rised the center screen up to the same height as the side ones and kept working. When I needed to see the projection screen, I just lowered the screen while tilting it (the upper edge away from me) until I could see the projection screen comfortably, while still being able to see what is on the center screen. When I knew I would not need the center screen at all - I just lowered it all the way down behind the desk without tilting - completely exposing the projection screen - and only used the two screen on the sides. If You plan on using the projector all the time - You may want to cosinder not having a center screen at all and use the projector as the center screen instead. You will need to make sure that what ever SW You are using will allow the use of the projector for what You need...
The desk also look awfully shallow. Considering You are into graphics and want to do grading as well - You will need space for control surface, keyboard and a tablet...

As far as the room enlargement goes - I would add more space behind You, or move both You and the client a little forward closer to the screen. This will give more room between You and the surround speakers - enlarging the sweet spot. You could potentially calibrate the sound from the head of Your desk (where the center monitor would be) - this should make swet spot large enough for both You and the client...

Peter

 

[Brad Allen]

Not at home right now (no access to my computer), just just a quick text reply...

About the trap-door, should You still decide to go for it, I don't see any problems - as long as You make it big enough to comfortable move heavy gear through. Having said that - the higher floors sound definitely as a better idea...
It also makes sense to have the AV stuff right next to You...

The one thing that worries me - regardless of which version of Your setup I am looking at - is Your workstation.
21" displays seems to be the smalles standard these days and they are a lot higher then what You have drawn - which will block Your view of the screen. I was facing the same issue in a setup here in Tokyo where I was actually using 3x 30" screens and needed to see the projection screen. Ended up mounting the two side monitors on a articulated arms, so they can be moved to the sides and agled for me to see the projection screen. The center monitor ended up being on a retractable column that could rise up and down. When I was not using the projector (you won't be using it all the time), I rised the center screen up to the same height as the side ones and kept working. When I needed to see the projection screen, I just lowered the screen while tilting it (the upper edge away from me) until I could see the projection screen comfortably, while still being able to see what is on the center screen. When I knew I would not need the center screen at all - I just lowered it all the way down behind the desk without tilting - completely exposing the projection screen - and only used the two screen on the sides. If You plan on using the projector all the time - You may want to cosinder not having a center screen at all and use the projector as the center screen instead. You will need to make sure that what ever SW You are using will allow the use of the projector for what You need...
The desk also look awfully shallow. Considering You are into graphics and want to do grading as well - You will need space for control surface, keyboard and a tablet...

As far as the room enlargement goes - I would add more space behind You, or move both You and the client a little forward closer to the screen. This will give more room between You and the surround speakers - enlarging the sweet spot. You could potentially calibrate the sound from the head of Your desk (where the center monitor would be) - this should make swet spot large enough for both You and the client...

Peter

Good points Peter.

Regarding the workstation, you are correct regarding the screens and I did have some concerns about this. I'll be running 24" panels so it will definitely be an issue. I'm thinking that working with a gap in the middle is probably the easiest way to go. When I'm grading, Resolve GUI can sit on my left, Screen in the centre and scopes to the right. For other programs, I'll probably have to work out a way to get the one of the DVI ports on a graphics card to route to the RedRay Projector to use it as an additional screen. This would probably be a good thing to sort out anyhow should I ever need to throw something from the computers workspace onto the projector. If I ended up finding out that this isn't a workable solution something similar to what you have mentioned with arms seems like the way to go.

Desk size you are absolutely correct. It's not really to scale in the previous 2D images. The desk I'm planning on using is 900mm deep (35.43"). I'm hoping this will cover it - should do if we aren't needing a centre monitor resting on the desk I think?

I've been playing a little more with the room space and think I have landed on something which could work pretty well. The room would stay the same size, but one height of stairs would be pulled out and all the raised area brought foward toward the screen. Front Left and Right Stereo speakers are then brought out away from the screen and wall mounted above the stairs and door that will eventually be on the left hand side of the room. Would look like this:

This would provide a few benefits:
- Provides more room for me at the upper most level
- Provides perceived increased ceiling height since everything is lowered by 150mm
- Should still be large enough to get equipment through the bottom level at 1050mm (I think this should be enough)
- Helps get all those speakers better lined up with the Dolby Spec assuming I'm not ruining anything by having the front left and front right be on a slightly different plane than the centre. I assume this is just a matter of adjusting delay on the speakers?

 

[Marc Wielage]

To be honest I had previously thought that perforated screens were the only way to have speakers placed behind. I didn't realise that woven screens can work for this too. My ignorance in these areas is exactly why I knew I needed to make a thread like this and plug up all these holes in my knowledge.

I'm doubtful that surround sound is going to be an important application if this room is primarily involved with color grading. To me, you're fine just dealing with stereo sound and having speakers on the left and right, or maybe center if you really want it that way. At best, the client understands that 97% of the reason they're in there is to worry about the picture. Many, many of the projects I've color-timed were done without sound at all until a final check at the very end, just to do a viewing pass -- and that was just in stereo.

I'm also not 100% convinced that a single room can do uncompromised work on both D.I. theatrical color correction and home video/broadcast TV color correction. Ideally, it might be a better idea to figure out a business plan on where most of your clients are going to come from, and then build the room for most of that work. If most of what you do is going to wind up on TV, the web, or home video, then a plasma or high-quality LCD display (like the Flanders or Dolby monitor) would be enough. Having said that: Sony Colorworks in LA just built dual-purpose rooms for 4K DI and TV, so it clearly can be done, given the time, skill, experience, and money.

Don't forget in working out distances that most projectors have very noisy fans in them, and if it's right over people's heads (especially the colorist), it's annoying as hell. I generally recommend that you get the projector physically out of the room and put it in a projection booth behind the colorist control panel and project through a thin glass window, exactly like a theater. That seals out the fan noise and makes it a lot quieter in the room for discussion and/or listening to the project. You could also house the server farms and computers in this machine room, to get their noise out of the control room as well, and use USB extenders and DVI (or Displayport) for the keyboard and system display.

Also bear in mind the throw distance of the projector, which can be considerable. You should check the specs of the specific projector and lenses you plan to use, and make sure that it'll work in the given space you have. Most of the D.I. rooms I've seen in LA are a lot deeper than what you're showing in your diagram, and the specific reason is because the lenses have trouble focusing any closer with (say) an 18' or 20' screen. There are fewer restrictions on rooms with 50" plasma or LCD displays, but even then, consider the viewing angle for both colorist and client, and know that 10-12 hours staring up (or down) at a monitor creates backaches and neck aches. Again, the SMPTE doc goes into this in detail.

I would hold off including the Red Ray projector in your list until it has an actual price and shipping date, and also to make sure it's DCI compliant. New products always have issues, particularly version 1.0, and it might be more practical to lease another projector for a few months for the market to stabilize. Lots will undoubtedly change in six weeks at NAB.

My last suggestion: take the time to visit competing facilities and take a good look at their rooms. From what I've seen here in LA at eFilm, Post Group, Technicolor, Modern Videofilm, Company 3, Laser-Pacific, and many others, nobody forces the clients to walk up six steps to get to their chairs and place the viewing angle right in front of them. At best, the colorist position is raised maybe two steps, to where their head is barely under the projector's path behind them. The clients just walk in the door, say hello, and walk about six or seven steps forward and sit down in their chairs, on the same level as the door. Some facilities use couches, some theater seats, some just regular comfortable chairs. Keep it simple.

 

[Brad Allen]

Some excellent points Marc - thanks for chiming in.

I'm doubtful that surround sound is going to be an important application if this room is primarily involved with color grading. To me, you're fine just dealing with stereo sound and having speakers on the left and right, or maybe center if you really want it that way. At best, the client understands that 97% of the reason they're in there is to worry about the picture. Many, many of the projects I've color-timed were done without sound at all until a final check at the very end, just to do a viewing pass -- and that was just in stereo.

The surround sound would primarily be for DCP creation and proofing, not so much for the grading side of things. It would be a bonus to have it there for screenings, but for grading I realise that the final soundmix may not even be complete. (Does resolve even allow you to listen back to a 5.1 or 7.1 mix while grading?)

I'm also not 100% convinced that a single room can do uncompromised work on both D.I. theatrical color correction and home video/broadcast TV color correction. Ideally, it might be a better idea to figure out a business plan on where most of your clients are going to come from, and then build the room for most of that work. If most of what you do is going to wind up on TV, the web, or home video, then a plasma or high-quality LCD display (like the Flanders or Dolby monitor) would be enough. Having said that: Sony Colorworks in LA just built dual-purpose rooms for 4K DI and TV, so it clearly can be done, given the time, skill, experience, and money.

I'm not convinced it can be easily done either! The majority of immediate work I can see going into would be for the big screen related to DCP creation for advertisements - however, I realise that's not where the majority of the work lies and so am keen to work out a way to cater for TV side of things too. Would definitely be interested in finding out some info on the specifics of how Colorworks set up their suites for TV with projection.

Don't forget in working out distances that most projectors have very noisy fans in them, and if it's right over people's heads (especially the colorist), it's annoying as hell. I generally recommend that you get the projector physically out of the room and put it in a projection booth behind the colorist control panel and project through a thin glass window, exactly like a theater. That seals out the fan noise and makes it a lot quieter in the room for discussion and/or listening to the project. You could also house the server farms and computers in this machine room, to get their noise out of the control room as well, and use USB extenders and DVI (or Displayport) for the keyboard and system display.

Also bear in mind the throw distance of the projector, which can be considerable. You should check the specs of the specific projector and lenses you plan to use, and make sure that it'll work in the given space you have. Most of the D.I. rooms I've seen in LA are a lot deeper than what you're showing in your diagram, and the specific reason is because the lenses have trouble focusing any closer with (say) an 18' or 20' screen.

Definitely hearing you on these points, which is why everything is open to be changed at the moment. Red have said that the projector itself is pretty quite since they run the light sources to it separately via fibre optic. But everything is subject to change with Red and I'll just have to see what ends up coming out of NAB like you have said.

There are fewer restrictions on rooms with 50" plasma or LCD displays, but even then, consider the viewing angle for both colorist and client, and know that 10-12 hours staring up (or down) at a monitor creates backaches and neck aches. Again, the SMPTE doc goes into this in detail.

Viewing angles are something I have been consciously concerned about so I'll definitely do some reading through the SMPTE doc and see if I can find some specifics to implement.

I would hold off including the Red Ray projector in your list until it has an actual price and shipping date, and also to make sure it's DCI compliant. New products always have issues, particularly version 1.0, and it might be more practical to lease another projector for a few months for the market to stabilize. Lots will undoubtedly change in six weeks at NAB.

Absolutely, I'm not locked in on the projector, it's just pencilled in, in the hope that it fits the bill . One of the good things about my financial situation is that it's going to force me to wait a few months anyway in regard to purchasing a projector and some of those other big ticket items. The construction is the main priority currently which is why I'm spending a decent amount of time trying to nail out this room plan.

My last suggestion: take the time to visit competing facilities and take a good look at their rooms. From what I've seen here in LA at eFilm, Post Group, Technicolor, Modern Videofilm, Company 3, Laser-Pacific, and many others, nobody forces the clients to walk up six steps to get to their chairs and place the viewing angle right in front of them. At best, the colorist position is raised maybe two steps, to where their head is barely under the projector's path behind them. The clients just walk in the door, say hello, and walk about six or seven steps forward and sit down in their chairs, on the same level as the door. Some facilities use couches, some theater seats, some just regular comfortable chairs. Keep it simple.

Great suggestion - would love to do this, but there really isn't anything similar around locally - I've been resorting to google images to get an idea of what others are doing currently. Great suggestion though.

Really appreciate your input

 

[Brad Allen]

I purchased the Recommended Practices SMPTE document that you linked Marc. Looks like my viewing angles are ok for the moment. It recommends sitting between 0 (+,-) 5 degrees and not going beyond (+,-) 15 degrees. This bodes well for the colorist who is looking at -3.5 degrees to the center of the screen and still fairly well for the client who is looking at + 7 degrees to the center of the screen. (talking vertical angles at the moment)

Screen height is another issue however - looks like my screen is a little to big currently. SMPTE is recommending viewing distance to be 4-6 screen heights. So I may have to come down 20% or so in screen size to make this work. I was already a little concerned that the screen may have been too big for the size room I was in, and coming down in size should help the projector with it's throw distance too I suspect. I'm having a chat with Evangelos who you recommended tomorrow, so hopefully screen size is the sort of thing he will be able to advise me on

 

[Brad Allen]

As an update to the above, I think those SMPTE Specs are for TV specifications and not for theatrical based grading sessions.

I've been reading through "Color and Mastering for Digital Cinema" by Glenn Kennel and he recommeneds 1.5-3.5 pictures heights with the optimum being at 2.0.

He says

The reference viewing position for color grading and quality control decisions should be at a viewing distance of 1.5 to 3.5 screen heights, with 2.0 screen heights generally accepted as the optimum position. At 2.0 screen heights, a person with 20:20 corrected vision can see all the fine detail in the picture, but yet is far enough back to see the whole picture without moving his or her head from side to side.

 

[Hrvoje Simic]

Regarding the sweet spot - ideally I would like to have this place somewhere between myself and the client. You are correct in that big projects are going to come through with their own sound mix already mastered out. However, there are a lot of smaller projects (I'm thinking mainly advertisments) that I do, that I mix in surround for their cinema releases. As a result it's probably more critical that I am in the sweet spot than the client.

Based on the title of the thread and the first post it would seem that the main goal is screening/grading facility and services.

Mixing audio brings quite a few additional factors regarding room, tools and expertise of an audio engineer in charge for the mix.
Nothing even remotely recommendable to be left in the hands of a motion graphics artist, editor or a colorist.

Good to know. I had been eyeing off some Genelec ones but they were going to be around 10k for a 5.1 setup before worrying about what other hardware they connected too. Makes a good deal of sense that a high-end consumer set would get me there if absolute perfection in audio is not required (and it's not since I will never be mixing a feature in this room!)

Regardless of what you are mixing, you will not be hearing what the cinema audience will.

 

[Brad Allen]

Based on the title of the thread and the first post it would seem that the main goal is screening/grading facility and services.

Mixing audio brings quite a few additional factors regarding room, tools and expertise of an audio engineer in charge for the mix.
Nothing even remotely recommendable to be left in the hands of a motion graphics artist, editor or a colorist.

Thanks for your input Hrvoje. I probably didn't go into enough background context. Before going into freelance work full time, I was working as an audio engineer in radio for 2 years. So while I don't label myself as that these days (since it doesn't represent the bulk of my work), I am still often responsible for doing the sound mix on TVCs, DCPs and many of the videos that I produce for clients.

So while I'll never be tackling mixing a feature, I do need reasonably accurate audio in order to cover me for those smaller jobs. Plus as a screening room, it would seem reasonable to try and opt for a decent audio solution to best represent the work (even if the mix isn't done in-house)

Regardless of what you are mixing, you will not be hearing what the cinema audience will.

Are you saying this based on the acoustics of the room or based on the speakers used?

 

[Hrvoje Simic]

Before going into freelance work full time, I was working as an audio engineer in radio for 2 years. So while I don't label myself as that these days (since it doesn't represent the bulk of my work), I am still often responsible for doing the sound mix on TVCs, DCPs and many of the videos that I produce for clients.

So while I'll never be tackling mixing a feature, I do need reasonably accurate audio in order to cover me for those smaller jobs. Plus as a screening room, it would seem reasonable to try and opt for a decent audio solution to best represent the work (even if the mix isn't done in-house)

"Reasonably accurate" and "decent audio" is very subjective and depends on the criteria. Criteria is a moving target.

Mixing audio on a radio station and mixing audio for projects like these is often a completely different story. This audience will not listen to the sound from a tight radio broadcast or on their TV speakers. It really depends on the expectations of clients, your priorities, experience and budget. If this is required mainly for mixing delivered voice-overs with mastered music and similar scenarios, there are less variables but a lot of factors still exist. You can start with the room design and acoustics, with advice from a specialist.

If this is your interest as well, I don't suggest taking more serious projects for a while, and do a lot of practice and testing of the produced audio in the targeted venue.

Are you saying this based on the acoustics of the room or based on the speakers used?

Audio setup for screening and presenting the work is one thing, setup for audio mixing is another.
First can just "sound good" to impress the client, second has to sound as close as possible to what the cinema audience will hear.
Which is a much more demanding setup then a referent picture monitoring.

Proper audio mixing requires a special setup, nothing which is "along the side" of another activity in the same room. It requires not only acoustic design (wall arrangement, angles and ratios) and treatment of the room (absorption, diffusion, resonators if needed), measuring and fine tuning (RT60 etc), it needs proper monitors with proper measuring tools and live metering tools, a high quality DSP to compensate the volume of the room and a proper D/A converter. The list continues...and you are well over five figures before even starting. Any serious partaking into audio segment will demand higher investments.

 

[Brad Allen]

"Reasonably accurate" and "decent audio" is very subjective and depends on the criteria. Criteria is a moving target.

Mixing audio on a radio station and mixing audio for projects like these is often a completely different story. This audience will not listen to the sound from a tight radio broadcast or on their TV speakers. It really depends on the expectations of clients, your priorities, experience and budget. If this is required mainly for mixing delivered voice-overs with mastered music and similar scenarios, there are less variables but a lot of factors still exist. You can start with the room design and acoustics, with advice from a specialist.

If this is your interest as well, I don't suggest taking more serious projects for a while, and do a lot of practice and testing of the produced audio in the targeted venue.

Hey Hrvoje, thanks again for your input. I realise mixing for Radio is quite different from cinema. That's not really why I mentioned it though. The reason I mentioned that background was in response to your assertion that there was "Nothing even remotely recommendable to be left in the hands of a motion graphics artist, editor or a colorist." I assumed you were ascribing that to me - so it seemed reasonable to mention some of my background in audio too.

Would you be able to recommend any specialists who could advise on the design of the room? I have been trying to factor in acoustics with the room - which is why there are angled double leaf walls with reasonably large air cavities. I fully expect to have to treat the space inside also to reduce reverberation etc but some advice from someone who has done this kind of thing before would definitely be appreciated - especially in regard to the shape and size of the room

Audio setup for screening and presenting the work is one thing, setup for audio mixing is another.
First can just "sound good" to impress the client, second has to sound as close as possible to what the cinema audience will hear.
Which is a much more demanding setup then a referent picture monitoring.

Proper audio mixing requires a special setup, nothing which is "along the side" of another activity in the same room. It requires not only acoustic design (wall arrangement, angles and ratios) and treatment of the room (absorption, diffusion, resonators if needed), measuring and fine tuning (RT60 etc), it needs proper monitors with proper measuring tools and live metering tools, a high quality DSP to compensate the volume of the room and a proper D/A converter. The list continues...and you are well over five figures before even starting. Any serious partaking into audio segment will demand higher investments.

Yeah - fair enough. This is the stuff I would love to get some advice on regarding the specifics. The immediate need is the actual construction of the space, so the $$ of the gear to go inside aren't as much of a concern for me. They can be added over months or even years in the space as the funds become available and if that kind of work is required.

 

[Marc Wielage]

Great suggestion - would love to do this, but there really isn't anything similar around locally - I've been resorting to google images to get an idea of what others are doing currently.

Take a trip to Sydney, Melbourne, or New Zealand -- there's several major post facilities there that are excellent. Just ask for a demo and/or a facility tour, get a rate card, and have a chat with them. I think people in the business won't necessarily be offended, but I wouldn't go out of my way to say "I just want to get an idea of how to build a competing facility." Maybe there's a way to just say you're interested in the color-correction process and want to get an idea how it works for a future project (which is technically true).

I continue to believe that sound mastering and video mastering are very different processes. Having said that, it would be possible to build a room that's basically a fully-equipped screening room capable of 5.1 / 7.1 playback to Dolby or THX standards, and also double as a color-correction room. The acoustic construction alone is very, very costly and complex (assuming you do it right).

 

[Brad Allen]

Thanks for the encouragement Marc,

I may hit up some places in Sydney and quiz some friends who have gone through a similar process.

I'm going to give Dolby UK a call tonight (UK morning) to have a chat to them about their certification process and see if they are able to advise me at all on the room shape for acoustics. In my researching I did come across some documentation from Dolby that may be out of date now.

It basically goes through some of the criteria for being certified. One section in particular peaked my interest:

6.4. The screen speakers must be at a height to give good coverage in the mixing and listening area. When projecting a 2.35:1 picture the left and right speakers will be inside the edge of the picture area and provide a 45° angle ± 5° with the mixing position. If masking is used this must be of the acoustically transparent type. We recommend that the mixing position be placed 2/3 back from the screen and require that the screen is at least 5 meters from the mixer. The studio area will be greater than 45 meters square and room volume will be greater than 150 cubic meters. We will allow some small deviation to these requirements if, in our opinion, the proportions of the room and equipment layout are spoilt in order to comply. Room ratios will be within the shaded area shown in Figure 1 below and ideally close to the straight line.

My previous dimensions only came to 35 square metres, so fall short of this spec already. Also interesting is that the speakers Front and Left speakers must be place behind the edges on the screen and can't come outside of it. Makes sense when you think about it since they would effectively be acting more as surround speakers of they came outside of the picture. However, that throws my previous plans off too. Factoring these things in, I've expanded the room a little further to 46sq meters. And I've adjusted those dimensions so that I fall on the black line in the figure above. Now looks something like this:

Screen might have to be a bit bigger yet still, but hopefully the guys at Dolby will at least be able to point me in the right direction.

 

[Richard Luke]

G'day brad
The Dolby site has some excellent white papers on room design, construction and calibration. I used these and made contact with the Australian Dolby rep before setting up my sound mixing suite.

Rick

 

[Brad Allen]

G'day brad
The Dolby site has some excellent white papers on room design, construction and calibration. I used these and made contact with the Australian Dolby rep before setting up my sound mixing suite.

Rick

Awesome - thanks Rick. Any chance you could link to where I could read them?

 

[Richard Luke]

Heres a couple of links:

http://www.dolby.com/DocLibTechLanding.aspx?taxid=584

http://pacificav.com/library/Dolby 51 productions guidelines.pdf


I've got more archived as well.

 

[Richard Luke]

This one has some powerful design information re materials and construction techniques.

http://www.acoustics101.com/

 

[Brad Allen]

Thanks a stack Richard - much appreciated

 

[Dermot Shane]

I'm working in a gradeing theatre alot, the projector is in a room behind me, with a porthole for the lens, the reason for this is the projectors throw out alot of heat and light from the rear baffles

In your current plans with the proj hanging from the celling it might throw light straight into your eyeline - but we just don't know until the Red proj's are delivering - making the room pretty useless for gradeing or QC should the Red proj need ventltion, and assumeing that it really is up to the task in the first place... all unknown at this point.

It seems you are putting all your eggs into the Red projector basket, but it might be wise to keep open the option to look at other soultions, i can't think of one that would work hanging off a celling infront of you

Should note that we use a Dolby PR4200 in our QC/TV gradeing room, and a Sony BVM-OLED in the gradeing theatre along side the Christe proj... you might want to look at the Dolby mon - it's the gold standard.

d