Cineworld Cinema - Leicester Square

Behind screen/screen installation photos

rasLXR, many thanks for the replies! I assume that, for example, like THX certified screens, IMAX has standards for auditorium noise levels—I certainly couldn’t hear any HVAC noise or any sound leakage from the adjacent IMPACT auditorium (keeping in mind the screens are “back to back.”)

While the Leicester Square THX certified screens had excellent sound, I’ve been to some (e.g. the Hoyts Cinema at Bluewater, before it became a Showcase) that were unimpressive. No way of knowing if they were operating to spec on the day of visit though; I imagine that IMAX auditoria benefit immensely from the daily calibration/quality control of picture/sound. In the UK I’ve only visited the BFI IMAX and the PEPSI IMAX, and with all the “Lie-MAX” potshots out there, it would certainly be good to hear that the other new IMAX installations are of the same standard.

Having visited the IMAX auditorium today to see “Edge of Tomorrow,” I can say that the Empire Leicester Square is back as the premier cinema in the West End! It’s all there—the auditorium feels cavernous in height/width, colour-changing concealed lighting (which has now been added at the back of each row of seats), super air conditioning, and a sense of occasion and being transported out of the outside world.

I’ve not been to an IMAX digital screening previously, but the Empire’s installation seems to be top-notch. The DLP projection is very good for what it is; it is well aligned and there was no barrel or “smiley face” distortion which plagues some screens. 3D images are however too dark, and the pixels clearly visible, particularly on text. The picture does not quite fill the screen yet, which is presumably sized for the coming laser projection; although there is no moving screen masking there is relatively little light leakage (although within the projected area black levels were a bit on the high side) and with the image darkened by 3D glasses it is hardly missed. The main feature was “letterboxed” although some of the adverts were not. Presumably thanks to IMAX’s DMR process, the picture was exceptionally consistent from scene to scene in terms of colour, detail and a complete lack of grain/picture noise.

I can’t be sure, but the new concrete floor screed in front of the screen, which I saw during my brief visit a few weeks ago, didn’t yet seem to be covered.

The sound is also as you’d expect from the Empire, being very well tuned, excellent stereo imaging, effortlessly wide dynamic range and “tactile” sub-bass. I almost feel that ATMOS is unnecessary as IMAX’s two rear speakers do a very good job of front-back surround stereo imaging.(IMAX are working on a 9-channel system)

The interior fittings (quality wall coverings, seats, etc.) are mostly identical to the IMPACT auditorium, but the ceiling is also covered with what looks like fabric, presumably concealing acoustic treatment. The acoustics are very good, perhaps not quite dry but the terrible “slap echo” of Empire 1 has been tamed. Only subtle behind seating lighting in the apparently disused side seats (according to the booking page on Empire’s site) are on during the main feature. Unlike the IMPACT auditorium, my seat, although very comfortable, did not recline although I did not find this to be a problem in relation to viewing the screen. Obviously, there are no tabs/curtains.

In my view, unlike the IMPACT auditorium, they really have got it right—accepting that it’s a automated digital cinema—this really is a flagship “West End” cinema with the attention to detail you’d expect!

Empire had promised to post photos of the conversion work on their website and facebook but to date have not.The lack of masking is now unfortunately the norm in most new builds and renovations.

I also managed to sneak a peek into the IMAX auditorium from the main foyer, although did not enter this time. (Carpet was being installed—black with red speckles—so a door was left open for this.) It does not look like the screen as yet been installed.

The foyer doors to the screen now have what looks like “padded leather” attached to the front of them, to add a touch of luxury—but this means there is no window.

There are two large and very fancy looking (backlit?) IMAX signs placed in the foyer, one to the left hand side of the seating area.

No tabs on the screen just a wall to wall ceiling to floor screen wanted to take some photos just on a smart phone but the management all out watching everyone

The balcony was not open as it’s not finished yet

been to the new impact today which is a nice screen & the only touches from old screen 1 is in the carpet pattern.

sound is fantastic screen is massive can’t be far off a imax

downside the projection box at the back of the stadium seating under the balcony means if someone in the middle gets up during the movie the image is projected onto the screen

don’t think the impact screen should of been opened to the pubic yet as the paint & upholstery fumes made me light headed

A new IMAX sign has been installed on the marquee, replacing the “CINEMA” sign. (Shows how strong the IMAX brand is!) There was an application for a high level sign but it has been rejected. I have uploaded photos.

I have also uploaded a photo which may show the back wall of the IMPACT auditorium and (on close inspection) possibly under a raked floor for (stadium) seating.

(Apologies for the poor quality of the photos; they were taken with an old smartphone, and I don’t have Photoshop installed on this laptop!)

I have now (briefly) seen the new IMAX auditorium.

The fit out is at a very advanced stage with seating installed; the screen frame and the IMAX screen speakers are installed. The screen itself has not yet been installed and I could see some (new looking) concrete on the floor area in front of the screen/dividing wall, not yet carpeted.

The reason for the delay is to meet building regulations; steel plates had to be fitted to hold up the 9 ton weight.

The IMAX auditorium, though not as massive as the old Empire 1, still feels very spacious and luxurious. The screen itself will be vast. It is certainly an expensively and properly done project.

However, on balance, it feels like (and, of course, literally is) a new cinema fitted into the space which takes some cues from the George Coles design; it does feel like little is left of the old Empire 1. That said, the multi-coloured concealed lighting has been installed but wasn’t on, and maybe that will make the difference.

I did not see the IMPACT auditorium but it will definitely feature Dolby ATMOS. Apparently, it is ‘back to back’ with the IMAX auditorium, so the projection will be from the end where the old Empire 1 screen was.

The IMAX auditorium will open on the 30th May. Can’t wait!

True. Whilst the Paramount & Plaza, as the twins were first called, understandably bore no architectural relationship with the former Plaza, they were reasonably spacious and comfortable – it was a bold subdivision which yielded two acceptable cinemas, to my mind. The Warner West End and Rendezvous always had a cold feel internally – more modern, yes, but a bare screen lit white in one and rattly steel shapes shuddering in front of the screen instead of curtains in the other? Warmth and atmosphere had been banished but, as the number of screens increased over the years at least curtains were re-introduced which was a step in the right direction. I fondly remember the unconverted Carlton Theatre which, under Fox, had a huge CinemaScope screen and the Gaumont, Haymarket which was quite splendid internally if a little narrow. Hindsight is a wonderful thing and Rank (and others) just wanted to maintain their cinemas' appeal to youngsters who would be attracted by bright, modern interiors and not be as aware as we are now of the heritage cost involved. In the West End, the rush to subdivide and ruin fabulous cinemas is hard to justify in the broader view when they all share much the same handful of films; why not present each film in one or two big, impressive cinemas as used to be the case. With suburban and provincial halls the case for conversion is, of course, much stronger. What a great shame we couldn’t simply have looked after what we had and cherished the “dream palaces” in the way that most theatres are. Industry politics have a bearing of course. I’m hopeful the twinning of Empire One will result in two cinemas that will work better than either the Plaza or Warner twinnings of their day. The twinning of Odeon West End worked well at first but replacing their curtains and spotlights with blue LEDs framing the screens renders them lacklustre and suburban in feel.

That’s cheering to hear and, yes, the computer images of the conceptual twins do appear to show coves with concealed lighting similar to those in Coles' “original” ‘60s auditorium which produced such memorable spectacles for so many of us. Maybe all isn’t lost – fingers crossed!

I was a Rank Theatres Ltd. manager in 1967 and was able to witness the changes as they took place at Leicester Square prior to the “unveiling” of the new look at the premiere of “Smashing Time”. I think most of us would concur that many cinemas lost a great deal in the then fashionable “zing” treatment where much of buildings' character was sacrificed for plain surfaces and blandness. With Leicester Square, the etched glass front doors, foyer and circle lounge wall panelling and recessed ceilings were, to my mind, very sad losses, nevertheless, it remained, and remains for me, a handsome and striking cinema worthy of listing. Does anyone know where the kitchens were situated for the restaurant? Empire One, as we latterly knew it, having been lost, what remains of George Coles' fabulous swan song in the tawdry hotch-potch of largely unsuitable viewing rooms in the pretend multiplex that the Empire has become?