The Wall Street Journal reports that Cineworld are preparing to file for bankruptcy. The writing has been on the wall, given mounting debts. Will be interesting to see the future of this and their other flagship locations.
Seanf: The single laser (“Commercial Laser”) IMAX projection system is excellent; except that, for reasons presumably known only to IMAX, it supports 1.9:1 only. (Thinking about it, perhaps the “dual lens” used with the single projection system for 3D makes it unviable to also have a changeover to a vertical anamorphic lens for 1.43:1?)
Going by LF Examiner, the screen size at this venue is 71ft. wide and 51ft. high. Too bad, then, that the single laser projection was installed, as 1.43:1 continues to be used for selected releases.
Whilst this is an existent site, parent company Cineworld Group have opened new builds with 1.43:1 screens with the single IMAX with Laser projection system installed. A recent example is Cineworld Ashford, the IMAX auditorium of which (in a newly-built extension) only opened a few months ago; screen size is also at the ~70ft. mark, which is within the capability of the single laser projection system. All a bit odd…
It looks like there screen was just left blank? Very poor, and it looks ridiculous in that auditorium.
I know what you mean about what looks like a veritable never-ending “sea” of seats. Interestingly, the Upper Circle of the OLS actually gained a couple of rows, with the circle’s layout revised (no full width cross gangway/new central wide vomitorium,) and the last row is now up against the rear wall.
A market report by CBRE (a “Global Commercial Real Estate Services” company) is included in the Documents, which says:
“[There has been a] lack of commercial proposals from rival operators since Odeon announced its reasons for not proceeding with the development. Ultimately, a site of this scale in this location is no longer in keeping with current operator demands; an issue exacerbated still further by the 2020 outbreak of COVID-19 and the effects that this has had on the sector.”
In view of the Premises Licence being issued in July 2020, per my previous post, one can only assume that this is a direct consequence of COVID.
Thankfully, not a great loss–Odeon’s scheme, after all, was no compensation for the ruination and subsequent demolition of the majestic piece of modernism that was the “large format” flagship cinema which once stood proud on this site.
davidcoppock: The main façade was not retained. Ground floor is now retail with 2 floors of apartments above that have windows facing onto the High Street.
To be fair, particularly upon closure, the main façade wasn’t much to look at. However, its replacement is remarkable for its complete absence of elegance.
Having a quick look at the rest, it seems the auditorium block was demolished, but the building that was between the vestibule and the auditorium seems to have been repurposed, albeit with extensive alterations.
Parts of its original frontage can be seen from the High Street, behind the single storey building that is to the left of where the cinema’s main entrance was.
HowardBHaas: Good to hear that it does offer a “premium” experience.
It’s not that there is no difference between operators' own-brand “Premium Large Format” (such as “RPX”) auditoria and “regular.” As you say, you would expect a relatively big screen, high-end projection/sound, etc.
For a proprietary premium format such as ScreenX (with the image extended along the sidewalls using additional projectors)–if the contract (with CJ4DPLEX of South Korea–yes, the “dreaded” 4DX is from the same company!) is terminated, then ScreenX versions of releases (which contain the additional image data for the sidewall projection) won’t be supplied.
Therefore, (even if retained) the sidewall projection can’t be used. By definition, it’s no longer a “ScreenX” auditorium.
Whereas, removing “RPX” branding would make no difference if nothing else has changed–the auditorium would still provide the same experience…
Maintaining a “premium” experience does require upgrading to meet current expectations. Perhaps that explains what’s happened here; for example, if the RPX lacks Dolby Atmos? This is certainly specified for parent company Cineworld’s “Superscreen” PLF own-brand auditoria.
“RPX” is their own “Premium Large Format” brand; they can call any auditorium they like “RPX”* (unlike, e.g., IMAX, where IMAX supply all equipment, auditoria are built or modified per IMAX spec., IMAX-specific versions of releases are supplied, etc.)
If they have dropped the “RPX” branding, then it would still be equipped with the same projection/sound, unless equipment was downgraded?
(*Regal’s website says the following: “[RPX provides] a giant immersive screen [which] is illuminated by high-quality digital projectors and completed with a state-of-the-art sound system.”)
Cinedelphia: According to LF Examiner – Theatres Listing, “KOP” is equipped with both IMAX Laser GT dual projection and IMAX 70mm projection.
IMAX Laser GT projection is intended to replace IMAX 70mm projection, and this has been the case for most venues. But not all–the IMAX in London’s Science Museum (recently refurbished) is one that retained 15/70 projection. (Not that there’s much point…!)
The BFI London IMAX is an oddity, given it’s very much an iconic venue. However, a scheme to redevelop the site it’s on and surroundings is in the planning stages. BFI have signed confidentiality agreements with respect to this. Whilst a replacement IMAX, one might imagine, would be likely (à la Darling Harbour IMAX, Sydney,) it’s hard not to draw conclusions on why responses such as the one offered to yourself are given to queries about IMAX Laser GT not being installed.
I’m slightly puzzled by the reference in the description to a bus station being on the site. Using the “Historical Imagery” function of the desktop version of Google Earth to look at aerial images dating from before the leisure complex was built, I can see only a flat “surface level” car park.
BH2 is covered in the June 2017 issue of Cinema Technology.
Projection is NEC; NC3240 in the iSense (or is that isense? Odeon don’t consistently apply capitalisation, and it turns out that both variations have been filed as trademarks by them…)
The speaker system specifications are not included in that article.
However, the screen speakers for the similar and almost contemporaneous Odeon Orpington iSense are:
LFE: 4xLW Speakers LW 6117 (2x21” per cabinet=8x21” drivers.)
(The Orpington iSense is covered in the September 2016 issue of Cinema Technology.)
Obviously it would be different in BH2 given that the speakers are from JBL, but the above should be indicative of the likely specification.
Per Dolby Atmos theatrical guidelines, LFE speakers are installed in one cluster on the floor behind the screen (for mutual coupling.)
In the BH2 iSense, adjacent to the stadia, sidewalls are covered in blue stretched fabric from handrail level up. At the screen end it appears to be black stretched fabric from fire exit door opening level up. That means that the thick mineral wool slabs behind the stretched fabric cover the sidewalls adjacent to the screen at the level of the main screen speakers, controlling lateral reflections.
The standard material up to stretched fabric level is an “acoustic carpet” product (or that’s how it’s marketed, it’s like hard wearing car carpet in appearance.)
According to the above-linked page, when UCI operated the cinema, this company performed an asbestos survey, in which asbestos-containing materials identified included “spray coatings, asbestos insulation board ceilings and cement.” Subsequently, removal work took place (logistically not so easy) and a new survey to update the asbestos register was undertaken.
Hmm. I’d still be surprised if no asbestos removal was needed above the ceiling during the strip-out of the old Empire 1. I’m fairly surprised that the old wall/ceiling tiles apparently didn’t contain any… (otherwise the wall tiles wouldn’t have been removed aggressively ASAP after the auditorium closed for renovation.)
The “abstract” sidewall features look better to me than the inelegant arrangement of red rectangular boxes on the sidewalls of Cineworld’s IMAX builds over the past few years. The “IMAX Belfast” sidewall signage really should be positioned differently, though. (Or, I might suggest, removed altogether…)
Black upholstered seating with red accents looks good, and means (in an unfilled auditorium!) less light reflecting back to the screen–important to get the most out of the IMAX with Laser projection.
This does seem to be yet another Cineworld IMAX that’s opened with a 1.43:1 screen with 1.9:1 projection capability only, albeit this time it is a refurbishment of an existent auditorium. This results in much “letterboxing” for “scope” content (~40% of the screen height.)
These reveal a 5 screen basement cinema to be branded “Odeon Luxe and Dine.” Seating is shown as all-recliner.
Seat counts:
Screen 1: 46
Screen 2: 30
Screen 3: 30
Screen 4: 46
Screen 5: 46
Screen widths all look to be under 30ft. with some of the auditoria being relatively deep.
This clearly is a very different scheme to the replacement Odeon Luxe West End. Hardly unexpected; but anyone who may have hoped for at least a tenuous nod to the heyday of large format super cinema wonderment is, alas, out of luck.
As well as recliners being installed, auditoria and public areas were fully refurbished to current Vue house style. Main fit-out contractor was Swindon Interiors:
Fred Fullerton (former Chief Projectionist at the Empire Leicester Square) has recently uploaded many videos on YouTube, some of which are particularly special.
The above-linked video was taken just before the 1997 refurbishment. Two sets of tabs opening and lowering of the safety curtain can be seen, as well as “The Duchess” Compton organ emerging from the stage.
I had forgotten that the screen used to be positioned so low and at such a steep angle.
Another video shows the matching splay wall decorative lighting feature from 1987:
I can’t say that I have ever heard of “flo neon,” although I did wonder how that effect was achieved. These days, addressable LED strips could do similar (and more!)
I remember this interesting feature well, however. By the time this video was shot, it looked somewhat dated, partially because it didn’t appear to be under digital control, going by the not-quite-perfect timing. Also, not infrequently, sections would be in need of replacement.
I also found that, whilst I liked it, it gave me an oddly unsettling feeling, rather than being relaxing before the programme… although I’m really not sure why…
At the start of the second video, the “Thieves are Silent” snipe featuring an animated snake can also be seen. Back then, this was also often shown in the old Empire 1.
It is very unfortunate that FanaticalAboutOdeon is no longer with us. He would surely have been delighted to see this footage of those old tabs.
Speaking for myself, however, I am very grateful that these videos have been shared.
terrywade: Beautiful indeed but I’m afraid this is a blast from the past as those lights date from 1962, with lighting control from an ARRI unit as of 1988.
In 2013/14 the auditorium was converted to an IMAX (so no tabs or masking) and the replacement lighting was 151 LED bars containing high power red, green and blue OSRAM OLSON LED’s (i.e. top-of-the-line.)
No expense spared, then, on equipment and I’m certainly glad that it’s there. (Cineworld had better keep it intact!) It is still quite impressive (albeit sidewalls/ceiling now black fabric, so challenging to “wash” with light.)
However, it could be noted that there are no footlights and the programming doesn’t make full use of the colour mixing possibilities. All are synchronised to the same colour (including additional red/green/blue LED modules behind the seats) and they cycle between red, green, and blue, holding for something like 40 seconds with a 15 second cross-fade, if I remember correctly.
Somehow, I didn’t notice the façade of this theatre in the trailer, until someone pointed it out to me!
How images were acquired/created would be interesting–the old neon spectacular adverts at Piccadilly Circus (aka Piccadilly Lights) also make an appearance in the trailer, so perhaps they are CGI versions composited in. Highly likely the case for the large format “Thunderball” advert on this cinema’s façade that appears in the trailer.
I did enjoy “Baby Driver” for the cinematography and otherwise being well put together; great fun. Reviews for this have been lukewarm. Hmm.
HowardBHaas: Good to hear that you really liked the film!
That the design of these original generation Showcase Cinemas in the UK came over from the US apparently even extended to, in at least one location, having the surface car park’s kerbs painted rather than double yellow lines on the adjacent road surface, as used in the UK to indicate “no parking.” Quite strange.
I always rather liked the external design of these multiplexes, even if not the highest quality finish (c.f. cladding, powder coated metal, etc.) Alas, what was once the clean and modern face of the future of movie exhibition has not always survived exposure to the elements so well, at least being in need of a coat or two of paint.
The above reveals that it still had a “first generation” multiplex interior that gave such venues a bad name–-now thoroughly obsolete. It seems hardly necessary to go through all that’s wrong with it; but of particular note is that carpet design–-what on Earth anyone was thinking when it was specified will likely ever remain a mystery…
Absorption/insulation behind the pleated (“Soundfold”-type) auditoria sidewall panels is visible where they are coming off in a couple of places.
One Christie film projector can be seen. 2D/3D lens changeover instructions reference Sony SRX-R320 S-XRD projection.
rivest266: Not sure about this being the “same” design as the Commack Multiplex; “historic” aerial views show a completely differently shaped building. The main frontages aren’t the same, either.
I notice that the Commack Multiplex site is now home to a Lowe’s Home Improvement store, which I suppose is (very tenuously) ironic…!
Edgar Wright has posted a video of the entrance corridor to the Dolby Cinema auditorium.
AFAIK this is currently the only Dolby Cinema in the UK to include the “AVP corridor” feature.
CF100
commented about
BFI IMAXon
Nov 5, 2021 at 3:37 pm
According to an article published on the 1st September 2021, which links to reports from Lambeth Council, feasibility studies for an “office-led” scheme encompassing the IMAX site continue, with a further £150,000 funding allocated.
One may still be slightly puzzled as to why laser light source projection has not been installed, for it could always be moved over to any replacement venue built as part of such a scheme, and it has been six years since the IMAX GT dual-laser projection system was installed in Leicester Square…
But it does seem to be the most likely explanation for the lack of substantial investment in this ever-popular venue; another example being the auditorium seating, which looks very tired.
CF100
commented about
BFI IMAXon
Nov 5, 2021 at 3:33 pm
Full “Dollhouse” 3D tour available on private bookings site:
In addition to the cross-sectional 3D reconstruction, many 360° photos throughout the publicly-accessible areas can be seen.
Looking at photos of the auditorium, it appears that some more recent changes have been made. The sidewall fabric looks darker, and new decorative lighting added.
The screen frame and speakers are visible, including the “Kanga” speakers for GT venues. (The older IMAX “Proportional Point Source” speakers were replaced in 2012 when a new screen was installed.)
Non-IMAX speakers can also be seen, including the very strange arrangement of two sets of screen speakers with neither of the two centre speakers quite centrally positioned, as well as the rear array on the auditorium side/back walls.
Obviously, no IMAX sides/overheads as IMAX with Laser upgrade has not occurred, hence 12 channel IMAX audio is not supported.
The Wall Street Journal reports that Cineworld are preparing to file for bankruptcy. The writing has been on the wall, given mounting debts. Will be interesting to see the future of this and their other flagship locations.
Seanf: The single laser (“Commercial Laser”) IMAX projection system is excellent; except that, for reasons presumably known only to IMAX, it supports 1.9:1 only. (Thinking about it, perhaps the “dual lens” used with the single projection system for 3D makes it unviable to also have a changeover to a vertical anamorphic lens for 1.43:1?)
Going by LF Examiner, the screen size at this venue is 71ft. wide and 51ft. high. Too bad, then, that the single laser projection was installed, as 1.43:1 continues to be used for selected releases.
Whilst this is an existent site, parent company Cineworld Group have opened new builds with 1.43:1 screens with the single IMAX with Laser projection system installed. A recent example is Cineworld Ashford, the IMAX auditorium of which (in a newly-built extension) only opened a few months ago; screen size is also at the ~70ft. mark, which is within the capability of the single laser projection system. All a bit odd…
Exterior footage of The Empire, Leicester Square in 1896 (!) with “Lumiere Cinematographe” signage (and yes, horses and carts to boot…)
HowardBHaas: Those are some nice photos!
It looks like there screen was just left blank? Very poor, and it looks ridiculous in that auditorium.
I know what you mean about what looks like a veritable never-ending “sea” of seats. Interestingly, the Upper Circle of the OLS actually gained a couple of rows, with the circle’s layout revised (no full width cross gangway/new central wide vomitorium,) and the last row is now up against the rear wall.
Planning permission (application submitted April 2021) for an alternative use of the cinema demise granted as below:
21/02728/FULLH - Use of part ground, part lower ground and part basement as an art gallery (Class F1).
A market report by CBRE (a “Global Commercial Real Estate Services” company) is included in the Documents, which says:
“[There has been a] lack of commercial proposals from rival operators since Odeon announced its reasons for not proceeding with the development. Ultimately, a site of this scale in this location is no longer in keeping with current operator demands; an issue exacerbated still further by the 2020 outbreak of COVID-19 and the effects that this has had on the sector.”
In view of the Premises Licence being issued in July 2020, per my previous post, one can only assume that this is a direct consequence of COVID.
Thankfully, not a great loss–Odeon’s scheme, after all, was no compensation for the ruination and subsequent demolition of the majestic piece of modernism that was the “large format” flagship cinema which once stood proud on this site.
davidcoppock: The main façade was not retained. Ground floor is now retail with 2 floors of apartments above that have windows facing onto the High Street.
To be fair, particularly upon closure, the main façade wasn’t much to look at. However, its replacement is remarkable for its complete absence of elegance.
Having a quick look at the rest, it seems the auditorium block was demolished, but the building that was between the vestibule and the auditorium seems to have been repurposed, albeit with extensive alterations.
Parts of its original frontage can be seen from the High Street, behind the single storey building that is to the left of where the cinema’s main entrance was.
HowardBHaas: Good to hear that it does offer a “premium” experience.
It’s not that there is no difference between operators' own-brand “Premium Large Format” (such as “RPX”) auditoria and “regular.” As you say, you would expect a relatively big screen, high-end projection/sound, etc.
For a proprietary premium format such as ScreenX (with the image extended along the sidewalls using additional projectors)–if the contract (with CJ4DPLEX of South Korea–yes, the “dreaded” 4DX is from the same company!) is terminated, then ScreenX versions of releases (which contain the additional image data for the sidewall projection) won’t be supplied.
Therefore, (even if retained) the sidewall projection can’t be used. By definition, it’s no longer a “ScreenX” auditorium.
Whereas, removing “RPX” branding would make no difference if nothing else has changed–the auditorium would still provide the same experience…
Maintaining a “premium” experience does require upgrading to meet current expectations. Perhaps that explains what’s happened here; for example, if the RPX lacks Dolby Atmos? This is certainly specified for parent company Cineworld’s “Superscreen” PLF own-brand auditoria.
“RPX” is their own “Premium Large Format” brand; they can call any auditorium they like “RPX”* (unlike, e.g., IMAX, where IMAX supply all equipment, auditoria are built or modified per IMAX spec., IMAX-specific versions of releases are supplied, etc.)
If they have dropped the “RPX” branding, then it would still be equipped with the same projection/sound, unless equipment was downgraded?
(*Regal’s website says the following: “[RPX provides] a giant immersive screen [which] is illuminated by high-quality digital projectors and completed with a state-of-the-art sound system.”)
Cinedelphia: According to LF Examiner – Theatres Listing, “KOP” is equipped with both IMAX Laser GT dual projection and IMAX 70mm projection.
IMAX Laser GT projection is intended to replace IMAX 70mm projection, and this has been the case for most venues. But not all–the IMAX in London’s Science Museum (recently refurbished) is one that retained 15/70 projection. (Not that there’s much point…!)
The BFI London IMAX is an oddity, given it’s very much an iconic venue. However, a scheme to redevelop the site it’s on and surroundings is in the planning stages. BFI have signed confidentiality agreements with respect to this. Whilst a replacement IMAX, one might imagine, would be likely (à la Darling Harbour IMAX, Sydney,) it’s hard not to draw conclusions on why responses such as the one offered to yourself are given to queries about IMAX Laser GT not being installed.
Fay Studios (Movie Theatre Interior Services) – “KOP” IMAX Refurbishment Photos:
During works.
After completion.
davidcoppock: The car park was open to the public:
Google Maps Street View.
I’m slightly puzzled by the reference in the description to a bus station being on the site. Using the “Historical Imagery” function of the desktop version of Google Earth to look at aerial images dating from before the leisure complex was built, I can see only a flat “surface level” car park.
BH2 is covered in the June 2017 issue of Cinema Technology.
Projection is NEC; NC3240 in the iSense (or is that isense? Odeon don’t consistently apply capitalisation, and it turns out that both variations have been filed as trademarks by them…)
The speaker system specifications are not included in that article.
However, the screen speakers for the similar and almost contemporaneous Odeon Orpington iSense are:
L/Lc/C/Rc/R: 5xLW Speakers LW-5109-BI screen speakers (4-way, dual 18” bass drivers.)
LFE: 4xLW Speakers LW 6117 (2x21” per cabinet=8x21” drivers.)
(The Orpington iSense is covered in the September 2016 issue of Cinema Technology.)
Obviously it would be different in BH2 given that the speakers are from JBL, but the above should be indicative of the likely specification.
Per Dolby Atmos theatrical guidelines, LFE speakers are installed in one cluster on the floor behind the screen (for mutual coupling.)
In the BH2 iSense, adjacent to the stadia, sidewalls are covered in blue stretched fabric from handrail level up. At the screen end it appears to be black stretched fabric from fire exit door opening level up. That means that the thick mineral wool slabs behind the stretched fabric cover the sidewalls adjacent to the screen at the level of the main screen speakers, controlling lateral reflections.
The standard material up to stretched fabric level is an “acoustic carpet” product (or that’s how it’s marketed, it’s like hard wearing car carpet in appearance.)
Bagnall Demolition — The Empire.
According to the above-linked page, when UCI operated the cinema, this company performed an asbestos survey, in which asbestos-containing materials identified included “spray coatings, asbestos insulation board ceilings and cement.” Subsequently, removal work took place (logistically not so easy) and a new survey to update the asbestos register was undertaken.
Hmm. I’d still be surprised if no asbestos removal was needed above the ceiling during the strip-out of the old Empire 1. I’m fairly surprised that the old wall/ceiling tiles apparently didn’t contain any… (otherwise the wall tiles wouldn’t have been removed aggressively ASAP after the auditorium closed for renovation.)
The Cinerama Dome Isn’t Planning To Re-Open Imminently; Here’s What’s Really Going On.
According to the linked article, re-opening date is unknown. Refurbishment at planning stage.
Cineworld have uploaded a video on YouTube:
Video: “Take a look inside Cineworld Belfast - featuring IMAX, 4DX and ScreenX!”
The “abstract” sidewall features look better to me than the inelegant arrangement of red rectangular boxes on the sidewalls of Cineworld’s IMAX builds over the past few years. The “IMAX Belfast” sidewall signage really should be positioned differently, though. (Or, I might suggest, removed altogether…)
Black upholstered seating with red accents looks good, and means (in an unfilled auditorium!) less light reflecting back to the screen–important to get the most out of the IMAX with Laser projection.
This does seem to be yet another Cineworld IMAX that’s opened with a 1.43:1 screen with 1.9:1 projection capability only, albeit this time it is a refurbishment of an existent auditorium. This results in much “letterboxing” for “scope” content (~40% of the screen height.)
Plans for the replacement Odeon Marble Arch are available within the premises licence, issued in July 2020:
Premises Licence.
These reveal a 5 screen basement cinema to be branded “Odeon Luxe and Dine.” Seating is shown as all-recliner.
Seat counts:
Screen widths all look to be under 30ft. with some of the auditoria being relatively deep.
This clearly is a very different scheme to the replacement Odeon Luxe West End. Hardly unexpected; but anyone who may have hoped for at least a tenuous nod to the heyday of large format super cinema wonderment is, alas, out of luck.
Best wishes for Christmas and the New Year to all. Fingers crossed that cinemas will continue to operate at a reasonable level of normalcy!
As well as recliners being installed, auditoria and public areas were fully refurbished to current Vue house style. Main fit-out contractor was Swindon Interiors:
Swindon Interiors - Vue Watford Project Description.
Fred Fullerton (former Chief Projectionist at the Empire Leicester Square) has recently uploaded many videos on YouTube, some of which are particularly special.
Odeon Leicester Square — Safety Curtain.
The above-linked video was taken just before the 1997 refurbishment. Two sets of tabs opening and lowering of the safety curtain can be seen, as well as “The Duchess” Compton organ emerging from the stage.
I had forgotten that the screen used to be positioned so low and at such a steep angle.
Another video shows the matching splay wall decorative lighting feature from 1987:
Odeon Leicester Square — Flo Neon.
I can’t say that I have ever heard of “flo neon,” although I did wonder how that effect was achieved. These days, addressable LED strips could do similar (and more!)
I remember this interesting feature well, however. By the time this video was shot, it looked somewhat dated, partially because it didn’t appear to be under digital control, going by the not-quite-perfect timing. Also, not infrequently, sections would be in need of replacement.
I also found that, whilst I liked it, it gave me an oddly unsettling feeling, rather than being relaxing before the programme… although I’m really not sure why…
At the start of the second video, the “Thieves are Silent” snipe featuring an animated snake can also be seen. Back then, this was also often shown in the old Empire 1.
It is very unfortunate that FanaticalAboutOdeon is no longer with us. He would surely have been delighted to see this footage of those old tabs.
Speaking for myself, however, I am very grateful that these videos have been shared.
terrywade: Beautiful indeed but I’m afraid this is a blast from the past as those lights date from 1962, with lighting control from an ARRI unit as of 1988.
In 2013/14 the auditorium was converted to an IMAX (so no tabs or masking) and the replacement lighting was 151 LED bars containing high power red, green and blue OSRAM OLSON LED’s (i.e. top-of-the-line.)
No expense spared, then, on equipment and I’m certainly glad that it’s there. (Cineworld had better keep it intact!) It is still quite impressive (albeit sidewalls/ceiling now black fabric, so challenging to “wash” with light.)
However, it could be noted that there are no footlights and the programming doesn’t make full use of the colour mixing possibilities. All are synchronised to the same colour (including additional red/green/blue LED modules behind the seats) and they cycle between red, green, and blue, holding for something like 40 seconds with a 15 second cross-fade, if I remember correctly.
Somehow, I didn’t notice the façade of this theatre in the trailer, until someone pointed it out to me!
How images were acquired/created would be interesting–the old neon spectacular adverts at Piccadilly Circus (aka Piccadilly Lights) also make an appearance in the trailer, so perhaps they are CGI versions composited in. Highly likely the case for the large format “Thunderball” advert on this cinema’s façade that appears in the trailer.
I did enjoy “Baby Driver” for the cinematography and otherwise being well put together; great fun. Reviews for this have been lukewarm. Hmm.
HowardBHaas: Good to hear that you really liked the film!
That the design of these original generation Showcase Cinemas in the UK came over from the US apparently even extended to, in at least one location, having the surface car park’s kerbs painted rather than double yellow lines on the adjacent road surface, as used in the UK to indicate “no parking.” Quite strange.
I always rather liked the external design of these multiplexes, even if not the highest quality finish (c.f. cladding, powder coated metal, etc.) Alas, what was once the clean and modern face of the future of movie exhibition has not always survived exposure to the elements so well, at least being in need of a coat or two of paint.
28 Days Later report.
The above reveals that it still had a “first generation” multiplex interior that gave such venues a bad name–-now thoroughly obsolete. It seems hardly necessary to go through all that’s wrong with it; but of particular note is that carpet design–-what on Earth anyone was thinking when it was specified will likely ever remain a mystery…
Absorption/insulation behind the pleated (“Soundfold”-type) auditoria sidewall panels is visible where they are coming off in a couple of places.
One Christie film projector can be seen. 2D/3D lens changeover instructions reference Sony SRX-R320 S-XRD projection.
rivest266: Not sure about this being the “same” design as the Commack Multiplex; “historic” aerial views show a completely differently shaped building. The main frontages aren’t the same, either.
I notice that the Commack Multiplex site is now home to a Lowe’s Home Improvement store, which I suppose is (very tenuously) ironic…!
Edgar Wright has posted a video of the entrance corridor to the Dolby Cinema auditorium.
AFAIK this is currently the only Dolby Cinema in the UK to include the “AVP corridor” feature.
According to an article published on the 1st September 2021, which links to reports from Lambeth Council, feasibility studies for an “office-led” scheme encompassing the IMAX site continue, with a further £150,000 funding allocated.
One may still be slightly puzzled as to why laser light source projection has not been installed, for it could always be moved over to any replacement venue built as part of such a scheme, and it has been six years since the IMAX GT dual-laser projection system was installed in Leicester Square…
But it does seem to be the most likely explanation for the lack of substantial investment in this ever-popular venue; another example being the auditorium seating, which looks very tired.
Full “Dollhouse” 3D tour available on private bookings site:
3D Tour.
In addition to the cross-sectional 3D reconstruction, many 360° photos throughout the publicly-accessible areas can be seen.
Looking at photos of the auditorium, it appears that some more recent changes have been made. The sidewall fabric looks darker, and new decorative lighting added.
The screen frame and speakers are visible, including the “Kanga” speakers for GT venues. (The older IMAX “Proportional Point Source” speakers were replaced in 2012 when a new screen was installed.)
Non-IMAX speakers can also be seen, including the very strange arrangement of two sets of screen speakers with neither of the two centre speakers quite centrally positioned, as well as the rear array on the auditorium side/back walls.
Obviously, no IMAX sides/overheads as IMAX with Laser upgrade has not occurred, hence 12 channel IMAX audio is not supported.
Full “Dollhouse” 3D tour available on private bookings site:
3D Tour.
In addition to the cross-sectional 3D reconstruction, many 360° photos throughout the publicly-accessible areas can be seen.