Podcast: Samsung Q80T & Spendor Classic S4/5 Reviews, RIP Sean Connery, Film + TV news & Reviews...(04/11/20)

Phil Hinton

Staff member
This week on the AVForums Podcast Phil has a review of the Samsung Q80T QLED TV and Ed looks at the Spendor Classic S4/5 speakers. Plus, we say goodbye to the original James Bond while Tom rounds-up the latest TV and Film news and reviews.

00:00:00 - Start
00:00:18 - Welcome
00:03:20 - What have you been doing this week, Steve? American Election
00:04:08 - What have you been doing this week, Tom? Guinea pig maintenance
00:06:38 - What have you been doing this week, Ed? Didcot
00:10:10 - What have you been doing this week, Phil? Sold the Mustang!!!!
00:17:29 - Competitions
00:21:14 - Spendor Classic 4/5 i-Fi Speaker review
00:28:30 - LG PL7 and PN7 XBOOM Bluetooth Hi-Fi Speaker reviews
00:37:40 - Samsung QE55Q80T LED LCD TV review
00:48:00 - Anthem launches latest AV receivers, processors and amplifiers
00:54:40 - Album of the week - CamelPhat - Dark Matter
00:57:08 - Secrets of the Saqqara Tomb Netflix documentary review
01:04:15 - Truth Seekers Amazon Prime TV series review
01:09:10 - Discussion about US TV shows which don't make it to the UK
01:17:35 - RIP Sean Connery
01:25:30 - Apple nearly bought Bond
01:29:00 - Mandelorian Season 2 review
01:32:57 - Creators changing the aspect ratio
01:39:00 - Tom's Thumbs
01:40:05 - Podcast Competition
01:40:30 - Thanks and goodbyes

Presented by Phil Hinton with Steve Withers, Ed Selley and Tom Davies.

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Distinguished Member
Not sure as to how accurate this is, but the assumption that the new Anthem models will not be HDMI version 2.1 compliant may be slighly incorrect? According to this article posted by Forbes, the new models will include an HDMI version 2.1 upgrade path:

Anthem’s new AVM pre-amps/processors and MRX AV receivers will all be upgradable to carry at least one full-spec (up to at least 40Gbps specification) HDMI v2.1 ports. Which should mean they’re capable of handling such next-gen gaming-friendly features as 8K feeds, 4K at 120Hz, variable refresh rate gaming, and automatic low latency mode switching.

Unlike the other new gaming-friendly AV receivers and processors announced so far this year, though, Anthem is confident that since it uses a different HDMI chipset, its new models will not be affected by the same HDMI 2.1 bug that’s currently preventing Denon, Marantz and Yamaha AVRs from passing 4K/120Hz HDR signals through to suitably highly specified displays.

The only catch with the new Anthem gear is that while the AVM and MRX models are due to launch in December 2020, the HDMI v2.1 next-gen gaming compatibility won’t be available until later - as much as 5-6 months later, apparently. Also, the upgrade will come with a ‘small cost’ attached, and will need to be a physical hardware replacement carried out by a dealer or distributor; it’s neither a mere software upgrade, nor a hardware upgrade you’ll be able to do yourself.

What HiFi also report the same:
This HDMI 2.1 upgrade is to the hardware and will involve a "small cost", as well as returning the amp to your dealer or distributor. On the plus side, Anthem is confident that, because it uses a different chipset to Denon and Yamaha, its amps will not suffer the HDMI issues reported with those brands that affects PS5and Xbox Series X compatibility.
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Jessica Noir

Well-known Member
Easily the two most underrated Sean Connery films are from his work with director Sidney Lumet. In The Hill (1965) Connery is serving time in a brutal stockade during the second world war and he was brilliant as the copper pushed to his limits in The Offence (1973).


Standard Member
Sorry Phil, but direct link is to last week's show. Hope to hear this week soon. Thanks.


Distinguished Member
Thanks for another great Podcast Guys, & thanks for a very nice Obituary for Sean Connery.
@Phil Hinton and thank you especially for the tip on the Billy Connolly BAFTA award video - absolutely fantastic! :thumbsup:

Toon Army

Well-known Member
Thanks gents, the line up in the coming weeks will make lockdown even more bearable. Please don't get rid of the " what have you been dong this week " section as they are very funny at times and make me feel better about my situation.

Good to hear that at least one manufacturer is dispensing with the number of legacy connections. Not only does it reduce the amount of clutter on rear panels, it is another cost saving.

Will miss Phil's Instagram photos of the Mustang parked up around the North East.
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Active Member
While it is annoying we don’t get a number of the good shows they have in the US, but the cost of getting the necessary streaming services there is more than I’d want to pay, here we only have the 3 main ones (of which I only have 2), who hopefully will go and cherry pick the good shows.
On the topic of Netflix cancelling shows, there was a good Wired article on why Netflix cancels a lot of shows after 2 or 3 seasons, basically if it isn’t driving subscriber growth then they aren’t able to justify the additional expense.

I was interested in the LG tv until I heard it is missing the wide viewing angles, anti-reflective coating and isn’t accurate out of the box ... even without DV that’s a TV I personally wouldn’t touch given my Living room layout.

Out of curiosity are there many Atmos enabled processors out there which would suppose the SCART on my XBox Gen1 ;)?
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Well-known Member
Seemingly I was so engrossed in The Mandalorian I didn't even notice the aspect ratio change :laugh:
Honestly I love smooth aspect ratio changes, for example:

The Dark Knight Rises Clip doesn't seem to suggest that the IMAX scenes where framed primarily for 2.35:1 with massive amounts of head room at all.

Screen Shot 2020-11-08 at 18.51.52.png

In this clip there's also no cutting between aspect ratios from shot to shot as Steve suggests.

The is supported by what the Dark Knight Trilogy Cinematographer, Wally Pfister stated in this interview about 'The Dark Knight' which was Nolan's first film to used IMAX.

He describes how they ignored the original suggested shooting rules for IMAX

“The rule of putting the crosshairs on top of the head seemed a little extreme,” says Pfister. “Plus, we felt like we were wasting all this great negative."

Phil and Steve assert that "everything Nolan does is framed for 2.40:1"

Its not as the above shows Nolan and his DOP framed it for IMAX.

Obviously i understand that there was a cropped version released to cinemas in 2.40:1 and I also understand why they might prefer the 2.40:1 version as it fills their screen better in their home - but that doesn't make it the film makers preferred version

Indeed by masking down the Blu Ray / UHD presentation of the film they may well not even be truly re creating the 2.40:1 framed version of the film.

As the films are shot as framed for IMAX the may not even have been printed directly from the centre of the 1.43:1 aspect ratio.

The below image show a scene where the crop used an upper portion of the IMAX framing - and this is for the 70MM 2.20:1 presentation of the film - 2.40:1 would have been even tighter.

Screen Shot 2020-11-09 at 00.49.47.png

So by simply matting the 1.78:1 Blu Ray presentation of the Imax scenes (That compose 70% of the film) they may well be creating their own framing just to better fit their Scope ratio screens.

As @Tom Davies correctly asserting Imax is Nolans preferred presentation.

And he puts the Aspect changing ratio versions of his films on disc for a reason.
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