high frequency screen art

ultra reflex | meyer sound

ultra reflex | meyer sound

Cinema technology is always in motion. A new generation of large-scale direct view displays offer high dynamic range, extraordinary contrast ratios, tonal detail, and flexible color space. But because direct view displays are solid, speakers cannot be placed behind them to localize sound to the action onscreen. The patent-pending Meyer Sound Ultra Reflex system is the first screen channel loudspeaker solution to provide precise localization for direct view displays.

Contemporary cinemas seek premium experiences that thrill customers and keep them coming back. At the same time, technology grows increasingly sophisticated and immersive content becomes available to consumers, and movie lovers can enjoy cinematic experiences without ever leaving home. Ultra Reflex opens the door for complete premium large-format (PLF) cinema experiences in both cinemas and at home.

Early attempts to localize sound to direct view displays placed speakers around the screen, resulting in distracting localization shifts and inconsistent coverage. Ultra Reflex directs sound toward the audience from two locations: Loudspeakers fire directional high-frequency sound toward the screen, where it is reflected into the audience area. Subwoofers facing outward from the screen area project diffuse low-frequency sound toward the audience; these two signals are seamlessly integrated and processed to deliver full-bandwidth screen channel sound.

With Ultra Reflex, the delivery of movies and many forms of entertainment are about to change. Ultra Reflex is the first screen channel sound solution for direct view displays. With this full-bandwidth sound for direct view displays, Ultra Reflex is not only a solution for cinemas and home theatres but also post-production, corporate installations, tradeshows, and amusement parks.

Ultra Reflex takes an integrated approach to cinema sound, combining precise Meyer Sound speakers, powerful Galileo GALAXY signal processors, and expert in-house consultation and calibration to deliver a comprehensive solution. Systems are scalable from small, private theatres to 250-seat cinemas, using any number of loudspeakers in flexible configurations including Atmos and other immersive formats.

With the power to provide accurate, full-bandwidth sound for direct view displays, Ultra Reflexs applications go far beyond the movies. From production facilities such as re-recording studios and color-timing rooms to residential gaming and theatre spaces to purpose-built museum exhibits to hospitality experiences, the opportunities to elevate the audiovisual experience are endless.

The first Ultra Reflex system is in use alongside a 34-foot Sony Crystal LED display in the reference-level screening room and lab at Netflixs Los Angeles campus. Here, in the only room of its kind in the world, content in UHD, HDR, and immersive sound can be enjoyed at a large scale at professional picture and audio reference quality.

For 40 years, Meyer Sound has been recognized as a global leader in audio research and innovation. Were pioneers in acoustic design, signal processing technologies, and system performance management; our systems can be heard in cinemas and post-production facilities around the world, including the Fox Newman Scoring Stage, Skywalker Sound, Warner Bros., and Disney Studios.

Ultra Reflex takes an integrated approach to cinema sound, combining precise Meyer Sound speakers, powerful Galileo GALAXY signal processors, and expert in-house consultation and calibration to deliver a comprehensive solution. Systems are scalable from small, private theatres to 250-seat cinemas, using any number of loudspeakers in flexible configurations including Atmos and other immersive formats.

With the power to provide accurate, full-bandwidth sound for direct view displays, Ultra Reflexs applications go far beyond the movies. From production facilities such as re-recording studios and color-timing rooms to residential gaming and theatre spaces to purpose-built museum exhibits to hospitality experiences, the opportunities to elevate the audiovisual experience are endless.

The first Ultra Reflex system is in use alongside a 34-foot Sony Crystal LED display in the reference-level screening room and lab at Netflixs Los Angeles campus. Here, in the only room of its kind in the world, content in UHD, HDR, and immersive sound can be enjoyed at a large scale at professional picture and audio reference quality.

For 40 years, Meyer Sound has been recognized as a global leader in audio research and innovation. Were pioneers in acoustic design, signal processing technologies, and system performance management; our systems can be heard in cinemas and post-production facilities around the world, including the Fox Newman Scoring Stage, Skywalker Sound, Warner Bros., and Disney Studios.

I was amazed at the quality and warmth, sonically and visually. When the lights came up I was shocked to learn that the Sony solid screen was actually reflecting the audio from the Meyer Sound speakers that were right above my head.

To be honest I was a bit skeptical, having heard other various attempts at this type of thing. Instead, what I heard was simply stunning a reference quality, completely transparent sound system that matches the spectacular visuals from the Crystal LED display.

I played a recent mix I had done on my Meyer Acheron system at The Dub Stage and was now watching it on the huge beautiful screen and the sound blew me away! It was a Meyer Sound speaker system that had a solid center, left and right image that was coming from the screen in front of me! Meyer once again created a speaker system for the future!

the secret to full color screen printing screensilk

the secret to full color screen printing screensilk

Ever wonder how t-shirts are made that feature photographic quality design, in full color? This articles takes an in-depth look at the subject of cmyk printing and color separations, and their uses in screen printing. This casual approach to a difficult subject, should provide you everything you need to know to start producing full color artwork for fun and profit.

To tell you the truth, youre not alone. Many people ask me, but I have been hesitant to trust this information with you (or anyone else for that matter), because of the power you will have at your finger tips once I am through. This isnt a power to be taken lightly, with this power you can change the world.

I know, who are we kidding? I can see that certain something in your eyes. Something in there that says, Hey man, I want it quick and easy, and dont make me think. I feel ya homey, so heres my advice,

What? Really? You want to do it yourself? I mean, wouldnt you rather just hire a professional, pay outrageous fees, and not have to bore yourself with the advanced mathematics and the tedious process of memorizing formulas and stuff?

Ok, then.. But dont say I didnt warn you! And when your family starts sending me emails because your head exploded from this advance knowledge, you can bet I will sell their email address to some head implant specialist mailing list, and make a fortune off your tragedy. Are we still cool? Alright then.

Well, by Wikipedias definition, CMYK is a subtractive color model used in color printing. Yup, that pretty much sums it up. So, now that we have that out of the way, lets get onto something interesting.What? You still dont understand? Really? I thought that was pretty clear, but I will try to explain it for you.

This whole CMYK thing is based on the mixing of specific pigments in particular percentages to create a wide range of colors. Often times referred to as 4 color process. These specific pigments are as follows:

Now, the reason this is considered a subtractive color model is because the higher percentage of cyan, magenta, and yellow I smear onto a white sheet of paper, the less amount of light that will reflect through, ultimately creating a black (in this case, smudge) on our paper.

Why is black referred to as the letter K in CMYK? Well, back in the old days, when people really did use silk for screen printing, the word for black was actually Klack. What? Oh.. well, apparently that isnt true. Allegedly, the K actually stands for Key, as in the key plate used by a printer. I am being told that it was referred to as the key plate because it generally contained the artistic detail for a piece and was usually printed in klack.

Hold up a second. There is actually a bit more to discuss before we can dive in and start burning screens. Understanding what CMYK is and why it does what it does is really only the first step to moving forward into four color process printing.

Next we need to understand color separations. I had mentioned earlier how specific percentages of these particular pigments (cyan, magenta, yellow, and black), could be combined to create a wide range of colors.

Ok, so this is a pretty solid green. He looks to have his act together. Maybe a summer home on the cape, a nice car, a pretty little pink number he comes home to every night. But, if we look close we can see that this guy is just holding it together. In order to stay this solid green, he really needs to maintain some tight percentages. If one of these percentages starts to slip, he starts to lose his solid reputation.

We understood that all together, these color percentages make him what he is, but when they are separate, they are just percentages of color by themselves. Oh snap! Did you see what I said? When they are separate! So, pulling these colors away from each other into individual instances, is the act of creating color separations. And with color separations, we can make screens!

Oh, ya.. I almost forget about that part. Halftones. What? No, no its not a ska band. A halftone is the series of little dots you see when you look at a photograph in a newspaper. Halftones are dots of varying sizes and angles. The smaller the dot, the more white from the paper shows through effectively creating a lower percentage of color. The larger the dot (yup you guessed it), the higher the color percentage and the less white that shows through. When these dots are angled just right and printed over each other with their corresponding ink color, the effect is breath taking. These little dots, of varying sizes and colors, standing up against their diversities, united under a common good, to change our perception of the world around us. Or, in other words, they just appear to make some really pretty colors.

Ok, so where do we start. We have discussed how CMYK color separations require halftones in order to achieve the multitude of colors we want in a 4 color process image. There has been mention of dot sizes and angles that are necessary to achieve this effect properly. You may have noticed that I have yet to give you any solid numbers as far as dot sizes or angles for your halftones. I didnt do that so you would read through to the end of this article, if thats what your thinking. I did that because this is where I supply you with the facts and figures you need to make this work for you in the real world.

Lets start at the end and work back to the beginning. Mesh Count and thread diameter. Mesh count is the number of threads, per inch, that makes up your screen. Professional screen printers generally utilizes a screen with a mesh count of about 255 threads per inch and above, but typically mesh counts can range anywhere from 110 to 305. To make matters worst, there is also different thread diameters for screens. The higher your thread diameter in combination with your mesh count, the finer detail your artwork can contain, but also, the less ink that gets pushed through the screen. Inversely, the lower the thread diameter, the more ink that can be pushed through the screen, but the ability to maintain high details is lost.

So how do you go about choosing a mesh count? Well, for the sake of this article, and the process of 4 color printing on a screen, we want to go with the highest possible mesh count with the largest diameter of threads suitable for the material we are printing to. The higher our mesh count, the tighter our dots can be when we create our halftone.

First, we need to look at our mesh count, we can call that M. In order to figure out the optimal dot size of our halftone for our screen, we need to divide M by 3.5. Why 3.5 you ask? Mostly, because I like that number and have good result with it. But, because there are differing ideas of what number to use, most ranging anywhere from 3 5, feel free to experiment and let me know what works best for you.

Our LPI will dictate how many lines per inch we will have in our halftone. The higher our LPI, the more dots we can fit in per inch in our halftone, allowing us the ability to print a higher quality image.

Lets do a quick example of figuring out our LPI, and then we can move on to the awesomeness of angles. Lets say I have a screen with a mesh count of 220 threads per inch. If I divide that 220 mesh count by 3.5, I get a quotient of roughly 63. Looking at our reference table, that will produce a lower quality halftone than used in newspapers, but fairly average for screen printing. While it might be ok for this example, I would probably look at buying a higher mesh count screen to improve my halftone frequency.

Also, as a side note, if you dont have the screen yet, but now you want to achieve a halftone with an 85 lpi, you can always reverse the math to come up with the mesh count you should purchase. Always remember to round up if possible. Obvious? Maybe, but I thought Id mention it.

The final key to producing accurate 4 color halftone separations for output is the screen angle. Not the silk screen, the halftone screen! The series of dots that create the halftone are referred to as a screen. It is this screen, that once overlapped with the other color screens creates the final image. Each separation screen is printed at its own angle to prevent what is commonly referred to as the moir effect. Moir produce a sort of distorted, dizzying effect, and can ruin a good print job. To prevent moir patterns in your prints, a general rule of thumb is to offset each screen angle by 15 to 30 degrees.

Thanks for the wonderful insight into screen printing, Im just a little confused when you say offset screen angel by 15 to 30 degrees. What are the original values to offset it from? And how do you get to a suitable screen angle sample of c-75 m-15 y-105 k-45. I apologize if this sounds like a stupid question and if I am missing something simple.

Just read through this. Thanks for the info! Really aided my understanding. I think I understood everything, but the end part is a bit confusing to me still. If it is not the actual silk screen that is being offset, what screen is it? I know its the halftone screen you are talking about, but where would that be exactly? Asking because I cant see where the halftone angle printing would come in between printing your positive on the vinyl and then burning the positive image into the screen. ( Im new to this. Just trying to understand before I start off manually doing it )

Hi! This article was extremely helpful! I am teaching a class on color management and I was trying to convey a way to explain screen printing so that any student level could understand it! Perfect! Thank you, Lisa

This article has been super educational for me! Thanks so much for taking the time to write it. Theres one part Im still unclear about and thats how to actually create silk screens from halftone artwork in photoshop. I totally get how the color separation works to create an image but Im just not sure how to create multiple layers from this halftone pattern. HALP!

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