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The Blu-ray group has just announced that it is merging with the HD-DVD consortium to produce a consolidated format for high definition on a packaged disc.

As the old saying goes, what if they started a war and nobody came? That seems to be the case with the simmering format war between Blu-ray and HD-DVD. To the consumer who bothers to keep up on developments, it must look like a phony war.

Our annual Home Entertainment show, sponsored by Primedia's home tech and photography publications—Ultimate AV, Stereophile, Home Theater, Audio Video Interiors, and Shutterbug—is still three months away. But time has a way of catching us off guard. If you plan on attending from out of town, you need to make plans now!

It was the most ambitious do-it-yourself carpentry work I've done in five years, ever since I covered the windows in my home theater studio to shut out the light and minimize extraneous outside sounds. The latest project involved building a false wall directly in front of an existing wall, not only to conveniently hang an expected ongoing parade of flat panel displays coming in for review, but also to facilitate a planned series of on-wall speaker reviews. There's no question that on-wall speakers are a significant trend, and one that we can't continue to ignore here at Ultimate AV. As for in-walls, well, that's a project for the future.

Steven Soderbergh's feature film, Bubble, premiered last week in high definition on HDNet. It also opened simultaneously in several dozen theaters around the country, all of them either Landmark theaters (owned by HDNet owner Mark Cuban) or independent art houses. Theater chains boycotted the film because in its simultaneous release on cable television, in theaters, and (this past Tuesday) on DVD, it represented a perceived threat to their box office revenue.

If you're an old hand at this home theater audio business, you know that both Dolby Digital and DTS first appeared in theaters, then on laserdiscs, and finally moved on to DVD. Because of the limited data space for audio on all of these delivery systems, the audio had to be heavily compressed—not in dynamic range (a common misconception) but to reduce the space it takes up on the film or disc. Both DTS and Dolby Digital use sophisticated encoding schemes to allow them to save space by discarding data that are not deemed audible. This "perceptual coding," together with other clever tricks, allow full-bodied, powerful sound to be squeezed into that itty-bitty living space.