The DVD specific mastering is a relatively new thing which I have only seen in routine practice in the last few years. The first film I saw that had a DVD specific mix by the original film mixing engineers was "Avita" (I was working on a film that was setting up to be mixed as they were finishing up the DVD mix). Mix magazine did a pretty good piece several months ago which detailed the mastering procedures that each studio uses for their DVD soundtrack masters. It can be read here:

http://mixonline.com/internet/newformats/audio_mastering_dvd/index.html

Certainly all major films released now get this treatment. Of course there still is variability in the relative brightness of certain films and this is due to individual choices made by the people who did the original film mix and the person who is doing the DVD mastering. My original point however was that the brightness that may be present because of the "X" curve or any of several reasons is compensated for in the DVD mastering stage now. If a film is still too bright in the home, then the Re-EQ or "theater compensation" of course can come in handy. The Outlaw 950's theater compensation is a good example of the general adoption by manufacturers of features which were once THX excusives, while lessening the need for THX certification now.

Just as an aside, at the CES show this last January, I was literally shocked at how generally "bright" the current crop of home theater speakers are - subjectively more bright than almost all monitor speakers I have heard in dubbing theaters and mastering stutes. Speakers with voicing like this will make almost any movie sound too forward and bright, no matter how it's mastered.

[This message has been edited by soundhound (edited June 07, 2004).]