AV Glossary

What it is. What it isn't.

In our November 2006 issue, I wrote an article in this space on the difference between 1080p and 1080i. In the same issue, we reported on how many TVs don't deinterlace 1080i correctly, and how even fewer pick up the 3:2 sequence when given a 1080i signal from a film-based source. The resulting confusion caused a torrent of e-mails. Let me clear up what this all means for you. But, before I go on, let me make one thing perfectly clear: I feel that every TV should deinterlace and pick up 3:2 properly; but, while it is a shame if they don't, it is not the end of the world.

In movies, one size never fits all.

By now, most home theater fans have undoubtedly grown used to seeing letterbox bars on many movies they watch. In today’s high-definition era, any content with an aspect ratio that’s greater than a 16:9 (a.k.a. 1.78:1) HDTV screen must be presented with black bars on the top and bottom of the frame. Blu-ray viewers have many examples of this. Approximately half of all modern theatrical films are photographed in the scope aspect ratio of 2.40:1. Iron Man, Tropic Thunder, and Wall-E fall into that category. Scope photography is sometimes referred to as 2.35:1 for reasons that are too complicated to explain in detail here. Just know that 2.40:1 is technically correct, although many people in the industry continue to use the term 2.35:1 interchangeably. At the other extreme, material narrower than 16:9 (classics like Casablanca and The Adventures of Robin Hood are 1.37:1) will have pillarbox bars on the sides. In the middle, movies composed for 1.85:1 (such as the The Sixth Sense, Hellboy, or Knocked Up) nearly fill an HDTV.

Bass is like salt. Really, it is. Salt is a seasoning, a treat that we add to good food to make it taste even better. Bass is the same way. A sound system without it lacks the last little element that transforms an ordinary activity like listening to music or watching a movie into an extraordinary, emotionally charged experience.

If it gets your signal in or out, it's probably here.

Talking about connections isn't very exciting. Cables themselves are about as sexy as hair clippings. Both are crucial, though, in getting the best-quality signal from your source components to your playback components. (This doesn't include hair clippings). So, here is a list of all the connections you're likely to come across and how they do what they do. They're also arranged in order from worst to best. Keep in mind that, in some cases, the connector and the signal share the same name; in others, the connector isn't exclusively associated with a particular type of signal.

It's the Sound!

What's the difference?

The next generation of prerecorded video content is here. The new machines use a blue-violet laser to read discs with far more storage capacity than current standard-definition DVD, and they can play high-definition content in full 1,920-by-1,080 resolution. The big attraction is the promise of the best picture quality you have ever seen on a display. The prerecorded, high-definition content offers pristine, near-perfect images with fewer artifacts (noise and blocking) than is possible today with broadcast or D-VHS content.

Still lacking simple self-control.

The holy grail of home theater simplicity is to have fewer remote controls and one-touch operation without confusing programming. HDMI CEC (Consumer Electronics Control) promises to control components that are connected via HDMI cables with just one remote. Turning components off and on and one-touch play and record are some of the first features enabled on these initial HDMI CEC home theater offerings. But they often prove to be not so easy. You must set up the HDMI CEC in each component’s menu, and controlling the components can be inconsistent. Plus, each brand has its own nomenclature for menu and action items. But perhaps being forewarned will enable you to be forearmed.