case study

Bohemian Rhapsody Cinema

‘bohemian rhapsody cinema’

‘bohemian rhapsody cinema’

our goal

Our goal with any cinema is the same; to engineer the room to meet the client’s desired outcomes, both in acoustic & aesthetic design.

In this particular case, we were looking at a room capable of seating 15 people, with the potential for additional loose seating to accommodate up to 20 people. The client wanted the system to meet industry THX standards, but with the global financial crisis hitting, the room was scaled back to meet a specific budget. The result is a stunning audio/video system that has room to be upgraded over time.

The client is a philanthropist and has long used their architectural award winning home to accommodate charity events and school functions. We were told from the start that the cinema needed to reflect the prestige of the property.

Initially we were brought onto the project by the dealer to build a cinema originally designed by a company in America. Everything had been designed, including selection of the Audio/Video equipment, cinema layout and design, which will be discussed in the next section, the design had to be quickly abandoned. This turned out to be a huge benefit, as it allowed us to explore the design deeper and provide a result the client had never dreamed possible.

The client’s family all play musical instruments. It was requested that we factor this into the design and create a stage.

The design process for this project extended over a year. Once completed, we took on the entire building contract to construct the cinema. Everything on the project was custom designed and built, including all the cinema seating, cushions, timber profiles, etc.

pre construction

challenge - A/C design

When we were engaged to build the cinema, the room had an existing air conditioning system which can be seen on the previous cinema design and the original site photos. The bulkheads that housed the system were very large and barely cleared two metres. The client informed us that the existing system was as a result of four consultants working together to produce a system capable of handling the room loads, while remaining very quiet. The reason for the bulkhead size was that the fan coil unit, sound isolation and duct dampening were all contained within the bulkhead. While the resulting design met the client brief, it made the room unusable as a cinema for 15 people or more.

The distance from the underside of the bulkhead to the seating platform is 1635mm, as can be clearly seen in the original room section The sight lines to the screen meant that each viewer would be looking into the head of the person in front. Not only was it unworkable, but illegal.

When we informed the client that we could get rid of the oversized bulkheads and integrate the A/C system into the room design to be invisible, they were excited. Despite the extra cost in redoing the system there was little hesitation on making the change.

We also noticed on inspection that the adjoining room, which was currently being used for storage, had a moisture issue. The room being closed to the rest of the home had no ventilation. While this room had always been intended as a drinks room, we suggested transforming the room into a more formal sitting room, where parents could escape and talk while the children enjoyed a movie. To make this possible, we needed to introduce fresh air to the room.

air conditioning

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the solutionThe problem with the Air conditioning system was twofold:

!" The bulkhead were too large and dominated the room

#" It restricted the size of the seating platforms

The solution was simple.

One of the main priorities in any room design is to size the screen according to the viewing distances. Once calculated we generate sight lines to the screen to ensure clear line of sight. To make this possible, the back row needed to be increased to be 300mm higher than in the previous design. This would have been unachievable with the existing bulkheads, but allowed us to design the fan coils unit into the resulting space under the floor.

The A/C system had to be inaudible, despite the fact that the fan coil unit is located under the seats. The fan coil was therefore mounted on isolation blocks and the enclosure is sound isolated under hidden access panels.

Attenuators are required to stop the fan coil noise travelling along the ducting. The air passes through the attenuators which eliminates plant noise before being spread to the various supply/return air ducts. Before the air reaches the air conditioning grills in the room, we utilise plenums to slow down the air velocity. These attenuators and plenums have been custom built under the remaining seating platforms and in rear bulkhead for the return air. The return air plenum also picks up the A/V equipment c/b.

There is a fresh air intake in the air conditioning system. As the air needs to come from outside the room, a special attenuator was constructed to stop sound escaping from the room. Like the other elements, this was custom built to be part of the room structure.

The sitting room now has a fresh intake and exhaust to change over the air in the room. This is connected to the automation system to cycle on each day. The client has an override button on the DLT light switch, which turns on the ventilation for 30min.

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'QUIETWOOD QW-631' T& G FLOORING ON 120x45 TIMBER FLOOR at 450mm MAX CENTRES

A/C REGISTER A/C REGISTER

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acoustic constructionA good room design should have crystal clear vocals, surround envelopment and be able to be played at industry reference levels without ever fatiguing. The deviation in frequency response from seat to seat should also be very small. This means that regardless of where you sit in the cinema, the audio quality is still excellent.

Not all seats are created equal...

Our goal designing any cinema room is to ensure that all seating positions sound the same.

Each room has resonant frequencies. It’s like when you blow in a bottle it makes a musical note. If you tried a different sized bottle the note would be higher or lower. These resonant frequencies are known in the industry as ‘standing waves.’ At certain seating positions in the room these standing waves are completely inaudible. Regardless of how loud we turn up the volume you would not be able to hear anything. At other seats the sound is significantly louder than normal. By carefully placing seats to avoid these bad spots, we can ensure that each seat sounds very similar to the others in the room.By also carefully positioning speakers & subwoofers we can nullify many of these ‘standing waves.’

acoustics

MSR bass trapacoustic bafflesIt’s what is behind the finished surface of the room is where the true beauty lies. Regardless of the decor or theme of a room, when you turn off the lights what makes the room is the sound and picture quality. Behind each surface is hidden various treatments to deal with acoustical problems that exist in all rooms. It is hard to describe until you have heard and experienced a correctly engineered room.

Behind the acoustically transparent screen is an acoustic baffle system. We do this for the following reasons:

1) By placing the speakers behind the screen as in a commercial cinema, the voices are coming from where the action or person is on the screen this basically makes it sounds real.

2) The acoustic baffles are an engineered diffuser designed and custom built for each project. They provide a large soundstage with incredible imaging.

3) The baffle mounting of speakers provides bass loading and an increased sensitivity that is highly useful in reducing strain on the system at high power levels.

acoustic designEach acoustic panel in the room has been engineered for a specific position in the room based on speaker/seat positions and to achieve the right tonal balance. We have all heard rooms where you could not hear voices clearly so turned up the volume, only to find that when an explosion or something loud happened in the movie that the sound was too loud. These are all acoustical issues and have nothing to do with the sound track.

In this cinema, the voices are crystal clear. Voice intelligibility is the most critical element within any design. Next the room should have the right tonal balance. Not to dead, like a room with thick curtains on all sides and not to live, like a typical modern living room where kids playing or noises from the kitchen grate the ears. Without a mixture of acoustic treatments including special bass traps, absorbers, diffusers and reflectors that balance is impossible to get right.

Diffusion is a critical element in any room design. While all rooms need absorptive materials, if we tried to address the most common issues in any room such as comb filtering (1st reflections), room reverb & tonal balance with just absorption the room would lose its life and sound unnatural. By scattering the sound we:

1) Maintain the energy in the room, but also reduce strong early reflections which can trick the brain into distorting the original sound.

2) Diffusion makes the absorption in the room more efficient as scattered sound will eventually hit an absorptive panel.

3) The frequencies have a roll off which is more typical of what is would sound like in an outside area. Essentially it sounds natural.

design

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platinum DSPsubwoofers

integra pre amplifier

DSP 1000w sub amp

balancedroom correction equalizer

cary power amplifiers

subwoofers-

This cinema uses multiple subwoofers to help deal with problem standing waves and create an even frequency response at all seats. The arrangement of the subwoofers is chosen to provide the correct balance. Initially the cinema was designed to have four subwoofers located at the front and back walls of the room. At installation, only the front two subwoofers were installed, with space left in the rear joinery for the additional subwoofers to be added in the future.

Using the subwoofers this way does not increase the bass in the room. The subwoofers are selected for the bass power required. In the case we are using a Triad Platinum subwoofer with a maximum output of 122dB. By using the multiple subwoofers; when they interact, the dips and peaks in the room even out to provide a more balanced sound at each seat.

The problem with these projects is time alignment. Time alignment is the acoustical time it takes for the sound to reach a point in the room. It is not the visual distance to the subwoofer. Multiple subwoofers that are not time aligned to the seats are like having multiple people talking in your ear. The result is muddy bass with no attack.

Using our calibration software we first time align all the subwoofers in the room. We then adjust phase to provide the flattest frequency response.

electronics -The majority of the Audio Video electronics is housed in a rack at the rear of the room. The rack can be rolled out for servicing the equipment and also allows for the cabling to be neatly loomed to get rid of the typical spaghetti mess. The A/C return air system has been designed to pick up the cupboard to ensure equipment doesn’t overheat.

The power amplifiers for the front speakers and subwoofers are located at the front of the room. This has multiple benefits:

1) Balanced cabling is used to transfer the audio signal to the power amplifiers driving the speakers at the front of the room. Balanced cabling is what is used for larger commercial projects and has the benefit of rejecting noise and being a higher voltage then normal cabling has a lower noise floor. The speaker cabling used is therefore very short, which delivers a much cleaner audio signal to the speakers.

2) The power amplifiers are large and generate a lot of heat. Removing them from the A/V cupboard allowed us to only use one rack which houses the source and switching products. The power amplifiers are switched on/off automatically and do not need to be accessible for the clients to use the system.

As there was a mixture of new and old (legacy) technologies, a dedicated video switcher/scaler was used to ensure maximum picture resolution.

A professional Audyssey room equaliser is installed between the Pre and Power amps to allow for room tuning, which is discussed later.

The screen is anamorphic widescreen, which means that the picture height remains constant. Widescreen images on a typical screen would leave black bars at the top and bottom of the image. Scaling is used to pull the image vertically to fill the screen and an optical anamorphic lens is used to stretch the images horizontally. The result is and image 33% larger, with no drop in quality.

The video system was ISF calibrated to ensure the system meets industry studio standards for colour & grey scale.

dipole surround

interior design

When we were engaged by the client they were unaware we were also experienced interior designers. We proved our capabilities with the client at one of the early design meetings where it was discussed that the clients loved the atmosphere of the Hemisphere Bar. in Sydney We visited the bar one night to experience the space and work out how to apply it to a cinema room. From this the ‘Bohemian Rhapsody Cinema’ was born. Essentially the brief was a dark, moody space with luscious materials, elegance and an eclectic style. The interior design boards we created early on weren't altered for the entire length of the project.

All elements of the interior design were custom designed and built, including the timber profiles used, cushions, cinema seats, etc. The chairs are finished in beautiful deep pile velvets. This was an expense the client simply could not resist and we are pleased they didn’t. The cinema chairs are the hero of the room and being commercial grade, will only look better as time passes.

The carpet is also custom manufactured. We selected a design and each colour to pick up other elements in the room. Rather than use flat edge to fix the carpet edges, which creates a down turn at the edges, we instead glued the underlay and carpet, which provides an incredible finish. This is something we would typically do when wheel chairs are being used in a cinema. As we use a special 14mm thick underlay for acoustic purposes, the difference in the look is significant.

The clients had emerald green and black silk curtains they brought back from their home in Hong Kong which they wanted to use in the cinema. We reworked the curtains to fit close in the stage and framed them with deep crimson sheer material to break the green from the rest of the room. When the curtains open, the movie screen is hidden behind another black curtain so that the stage can be used for entertaining.

The cinema lighting system is extremely complex for a room of this size and incorporates 20 dimmable lighting circuits. The lighting tracks allow for lights to be clipped in as required, with each track utilising three lighting circuits. The front track has special stage cans, with beam control and light filters to enhance live performances. The entire system is easily controlled by the Crestron touchscreen.

sample boards

While many of the individual interior design fixtures came from existing pieces they had collected over time, such as the deities and lobster phone, the main elements were sourced by extensive time spent visiting furniture stores around Sydney. Many items were tried and returned before we were happy with the result. This is something that takes time, but as this is an eclectic design, it was critical to bring the project together. The last elements to be installed (tassels, cushions & lamps), really brought the whole project together.

“interior design is a part of wavetrain’s

services”

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‘intermission - sitting room’

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Calibrated results

The cinema was located downstairs in what amounted to a concrete bunker. While most people would consider this ideal, the reality is that this introduces two issues:

1) The rigid room materials do not deflect with the sound and therefore do not offer dampening of the sound energy in the room. Specifically, this means that bass energy is reinforced.

2) Hard, dense materials actually transmit sound better than light weight materials. Ever been in a multi storey building site, where the a jack hammer on the 20th floor can be clearly heard in the basement? Once in the structure, audio in masonry can travel large distances easily and present itself in unusual places.

While the client insisted sound isolation was not an issue and we needed to reduce the room fit out costs; we settled on a compromise. A floating floor was installed and sand filled plinths were installed under all speakers and subwoofers to reduce direct transfer of sound energy into the surrounding structure. For the walls and ceiling, we also used a very simple but highly effective system called Quietglue. Instead of rendering the walls, which would be of no acoustic benefit, we battened two layers of plasterboard with quietglue in between to a metal furring channel. Quietglue is a dampening compound that absorbs sound when the plasterboard vibrates and is the most cost effective dampening compound available. This makes the plasterboard an excellent bass absorber, which reduces the bass energy in the room over time. The result; a less boomy room.

The other aspect of building the floating floor and the quietglue wall system is that sound energy in the room does not get into the building masonry.

The two staircases have been designed to become air locks. All the existing doors were solid core, which is ideal. We simply sealed off the doors using raven seals, including drop seals and threshold plates where we needed to seal the bottom of the doors to carpet.

Room Room ResonantDim. Dim. Freq.

Main Modes (cm) (meters) (Hz) Sitting Position Peaks Modal DistributionLength 741.00 7.41 23.220 Single Peaks 69.7 139.3 176.9 209.0 278.6 ƒ-6% -6% ORIG +6% ƒ+6%Width 681.00 6.81 25.266 Double Peaks Freq. 20.47 21.70 23.00 24.38 25.85 Ceiling CalculatorHeight 270.00 2.70 63.726 Triple Peaks Dim. 27.57 26.01 24.54 23.15 21.84 Orig 1/2 2x

ƒ-7% -7% ORIG +7% ƒ+7% Dimensions 20 10 40Freq. 17.47 18.69 20.00 21.40 22.90 Calculated Freq. 28.225 56.450 14.113

Seating Seating Sitting Position Nulls Dim. 20.47 21.70 23.00 24.38 25.85Dis. Dis. Seating Single Nulls ƒ-8% -8% ORIG +8% ƒ+8% Dimensions 20 10 40

(cm) (meters) Position Double Nulls Freq. 17.15 18.52 20.00 21.60 23.33 Calculated Freq. 28.225 56.450 14.113From Back Wall 240.00 2.40 1/3 Triple Nulls Dim. 32.92 30.48 28.23 26.13 24.20From Side Wall 290.00 2.90 3/7From Floor 105.00 1.05 7/18

Axial Resonances 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20Room Length 23.2 46.4 69.7 92.9 116.1 139.3 162.5 185.8 209.0 232.2 255.4 278.6 301.9 325.1 348.3 371.5 394.7 418.0 441.2 464.4Room Width 25.3 50.5 75.8 101.1 126.3 151.6 176.9 202.1 227.4 252.7 277.9 303.2 328.5 353.7 379.0 404.3 429.5 454.8 480.0 505.3Room Height 63.7 127.5 191.2 254.9 318.6 382.4 446.1 509.8 573.5 637.3 701.0 764.7 828.4 892.2 955.9 1019.6 1083.3 1147.1 1210.8 1274.5

Sorted Res. 23.2 25.3 46.4 50.5 63.7 69.7 75.8 92.9 101.1 116.1 126.3 127.5 139.3 151.6 162.5 176.9 185.8 191.2 202.1 209.0 227.4 232.2 252.7 254.9 255.4 277.9 278.6 301.9 303.2 318.6 325.1 328.5Delta 2.0 21.2 4.1 13.2 5.9 6.1 17.1 8.2 15.0 10.2 1.1 11.9 12.3 10.9 14.3 8.9 5.4 10.9 6.9 18.4 4.8 20.5 2.2 0.5 22.5 0.7 23.2 1.3 15.4 6.4 3.4Average 24.2 35.9 48.5 57.1 66.7 72.7 84.3 97.0 108.6 121.2 126.9 133.4 145.5 157.1 169.7 181.3 188.5 196.7 205.6 218.2 229.8 242.4 253.8 255.2 266.7 278.3 290.2 302.5 310.9 321.9 326.8Bonello (5%) 8.8% 83.8% 8.8% 26.1% 9.3% 8.8% 22.5% 8.8% 14.9% 8.8% 0.9% 9.3% 8.8% 7.2% 8.8% 5.0% 2.9% 5.7% 3.4% 8.8% 2.1% 8.8% 0.9% 0.2% 8.8% 0.3% 8.3% 0.4% 5.1% 2.0% 1.0%Problem Freq. 7 1 1 1 1 1 1 1

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Audyssey MultEQ XT Room Correction ResultsWavetrain Distribution has calibrated the time and frequency response of yourhome theater system using Audyssey MultEQ XT sound equalization technology.Your system has been measured at 10 listening positions to create optimal soundperformance.

Audyssey MultEQ XT Room Correction Results Before MultEQ XT After MultEQ XT

Left Front Speaker

Speaker Settings: Distance (m): 6.1; Trim (dB): 0.6;Crossover (Hz): 70

Right Front Speaker

Speaker Settings: Distance (m): 6.2; Trim (dB): -0.3;Crossover (Hz): 70

Center Front Speaker

Speaker Settings: Distance (m): 6; Trim (dB): -0.5;Crossover (Hz): 70

Subwoofer

Speaker Settings: Distance (m): 12; Trim (dB): -11.1;

Left Surround Speaker

Speaker Settings: Distance (m): 2.6; Trim (dB): -0.7;Crossover (Hz): 80

Left Back Speaker

Speaker Settings: Distance (m): 4.1; Trim (dB): -4.2;Crossover (Hz): Large

Right Back Speaker

Speaker Settings: Distance (m): 4.2; Trim (dB): -3.6;Crossover (Hz): Large

wavetrain cinemas10 / 1-13 Atkinson Rd, Taren Point, NSW 2229 Australia

T (02) 9526 5497F (02) 9526 5498

E cinemas@wavetrain.com.auW www.wavetrain.com.au

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about wavetrain cinemas

Visiting a well designed cinema is an experience that everyone enjoys. Neon lights, lush décor, movie posters and thesmell of popcorn create excitement and when the curtains open to the movie, our hearts beat a little faster in anticipation.Today’s technology is now capable of bringing home the cinema experience, allowing us to watch our favorite movies wheneverwe wish from the comfort of a favorite chair, drink in hand and no distractions. From projectors to speakers, home cinema has now become an integral part of many new homes and the modern lifestyle.

As a home cinema design-only company, Wavetrain Cinemas capture the cinema experience, blending state of the art technology with inspired design to create a seamless movie environment.Our unique designs have earned us a reputation as Australia’s leading cinema designer.

We provide interior design, lighting and air conditioning services, plus manufacture specialist products to ensure every project meets our high standards.

David Moseley has a background in architecture and lectures in Cinema Design and Acoustics. He oversees every design. We also employ an architect, interior designer and artist.

For those wanting the ultimate Home Cinema experience we are proudly the first showroom in Australia to feature D-box motion MFX systems. -box is currently being installed in commercialcinemas across the world. Wavetrain Cinemas works inconjunction with a trusted network of dealers to achieve excellent outcomes in partnership.