It says that the foyer areas were designed by Innebo Architects of Warsaw, whilst the 4DX is attributed to Chapman Taylor’s leisure team.
Excerpts:
“Cineworld Leicester Square, formerly Empire, is a world-famous cinema in the heart of London’s leading entertainment district. […]
“The refurbishment of the […] cinema’s lobbies [has been to the] highest standards of finishing […]
“This refurbishment helps put this renowned film venue at the industry’s cutting-edge. We wish Cineworld all the very best success with this landmark development.”
It can be seen that the foyer design has evolved a bit since those images were created, with changes to the ceiling adjacent to the entrance doors, auditorium entrances, concealed lighting, and large wall signs.
Innebo Architects' “portfolio” pages show that they have been involved in several projects for Cineworld Group on an international basis, with the current house imaging style, whoever conceived it, shared across Cineworld and Cinema City sites.
That being said, I did manage today to have a quick look at the new foyer from the lower vestibule, and I’ve uploaded a few photos.
From what I could see there, the fit-out has been completed to a very high standard indeed. I’m not sure if the dark grey wall finishes are paint, but they are extremely smooth and flat—and no roller or paintbrush marks or wonky plasterwork in sight.
The glossy lacquered stretched fabric ceiling is stunning, and the concealed lighting actually provides quite even illumination when seen in person.
There was music playing at the top of the vestibule/stairs, as could be heard in Zappomatic’s YouTube video; however, I was slightly surprised that it wasn’t audible externally. (I assume they don’t have licencing for this?)
The LED display modules fronting the step risers and the curved wall are very bright compared to the surrounding environment; and perhaps the new foyer is actually too dark, or perceptually they result in the impression of relative darkness, but it felt like stepping into a cinematic environment rather than a “graduated” progression into one.
The “gold” squares in the ceiling appear to simply be acrylic/perspex with a dotted pattern somehow applied. Disappointing, but they still look attractive.
The black marble to the left of the vestibule/adjacent to the 4DX entrance has been retained.
Overall absolutely fantastic, and it feels like you’ve entered the “Rolls Royce” of cinemas, with a definite sense of occasion and anticipation. The only question is whether wear and tear will take its toll—there are already a couple of scuffs on the corner of one of the new dark grey walls.
Perhaps against my better judgement, I was going to check out the 4DX today to see “Avengers: Infinity War.” Unbelievably, the IMAX, Superscreen and 4DX are all heavily booked, even for the earliest screenings!
For the 19:15 performance in the Superscreen, there are just over 20 non-balcony seats remaining at this time, side seats in row “B” and one far left seat in row “C.”
“Cineworld’s vice president of operations UK and Ireland Shaun Jones said the Empire in Leicester Square had long been ‘the home of film for the UK.’
“‘All the Hollywood greats were here, when you think of cinema and the West End, the Empire is the cinema you think of,’ he said.
“‘It’s not really had a transformation for many years; we want to bring it up to a modern and technical standard [sic], but equally we want to carry on with the tradition of the Empire by hosting key film events.
“‘It’s really important for us to keep that heritage going.’”
No sign of a new license application with update plans yet, just a new “Change of DPS” (Designated Premises Supervisor) application with no documents.
“The work turned up some historical artefacts, including a press cuttings book from the early 1950s, with articles about the cinema, visits of Hollywood stars and dancers pulling on tap shoes to mark an auditorium makeover.”
Really now… maybe it was found when they lowered the 4DX’s concrete floor?!
Still the problem of the low ceiling, but looks like a good remodelling of what was once a throughly unappealing place to see a film. (Particularly if you ended up behind one of the columns as I once did—albeit that was back in the mid-90s!) They’ve certainly managed to “jam” a “4DX” into the old “Ritz” auditorium, and it must have been a nightmare project; it’s so similar in layout to other 4DXs that, if you weren’t aware of the auditorium’s history—and naturally the vast majority of patrons won’t be—you might even think that it was entirely purpose-built!
Good grief, the vestibule up from LSQ reminds me of the Trocadero back in the “Segaworld” days, with its curved video wall (and seemingly the Spice Girls' “Generation Next” Pepsi advert blasted out every 5 minutes over the Turbosound speakers!) I suspect it won’t be to the taste of some around here, but I like being bombarded by video and sound. ;–)
Not sure the main foyer section under the IMAX stadia is as warm and welcoming as before, but I’ll have to see in person. Those sofas can’t be any worse than the previous!
Looks like the left entrance doors/vormitory to the IMAX aren’t intended to be used given that there appears to be no signage?
Now back to having a lie down after the dreadful hot weather… :–(
Interesting, doesn’t seem to be something that appears among Eomac’s sample photos, but a quick Google search leads to a number of suppliers, at least one of which boasts their product yields a “seamless” finish. Wonder if they will replace the IMAX’s ceiling (though persumably not with reflective material!) as this all seems “no expense spared”…
I guess the right wall is simply painted with Perspex/acrylic strips attached?
Ceiling cove lighting looks a bit inconsistent and still annoyed by the loss of the marble-clad right wall… but… (in a positive way…)
Bl!?dy h#ll!
Ceiling above the curved wall section looks reflective?
(Odd coincidence that the title of films screened seem to reflect the occurrence of the most major works at the Cineworld/Empire LSQ: “Big Bad Wolves,” “Edge of Tomorrow,” and now “Rampage”—although I suppose that one should have coincided with the foyer strip-out!)
I can only assume it’s in relation to an opening event for the 4DX, given that the date is around the time of the 4DX opening, and it seems unlikely to be for a premiere of an Indian movie titled “2.0”!
I look forward to seeing the finished result but it seems to be taking what was once a rather stale, dated space into something more befitting of its location.
Now now, excepting that it needed a lot of tidying up, I’m sure I’m not the only one who liked the old foyer! ;–)
(i.e. Domes/fibre optic starfield lighting/red flocking/marble wall panels (when not covered over with advertising!)/carpet.)
That reminds me—wonder what’s happened to the “Opened by HRH…” plaques?
Anyway, many thanks (yet again) for the update and photos. They do seem to be going to town on the refit—particularly with those “gold” panels!
Among the “junk” under the IMAX’s stadia, I can see what I’d assume to be sacks of Mapei screed, tubs of Mapei tile adhesive… and what might be boxes of tiles. New floor coming very soon, I’d imagine…
perhaps one of the contractors now has a new headboard!
PhilipWW: You’re most welcome, I’m glad to hear it’s appreciated!
IMAX don’t use the standard DCP format, they have their own extended version, IDF (IMAX Digital Format.) No idea what resolutions/frame rates are supported.
In any case, a different package would be supplied for laser venues, as the colour grading is different for “IMAX with Laser.” IMAX themselves listed 70mm IMAX, IMAX with Laser and IMAX Digital (Xenon) as the different IMAX formats “Dunkirk” was released in, and see also the IMDb Technical Specifications page for Dunkirk—notice the 1.43:1 ratio for IMAX with Laser.
The “laser” part of the projection is only the light source, DLP chips (or LCoS/SXRD in the case of Sony) are still used. Greater screen brightness, wider colour gamut (increased range of colours), and deeper blacks. On the other hand it has a number of technical challenges, hence IMAX acquired a number of patents from Kodak. The most well known is the “speckling” issue—one way IMAX ameliorates that is by attaching lots of small transducers (speakers) to the screen, which constantly slightly shake it!
I fully agree with your comments on framing and the strange design choices of so-called “large format” screens. I think the concept is, as with IMAX, to present a large wall-to-wall, floor-to-ceiling screen to the patron as soon as they walk into the cinema.
If one looks at a 1928 photo of the Empire Leicester Square Rebuilding Works and compares it to this part (direct link to time in video) of the The Installation of the Empire Leicester Square IMAX, looking carefully at the front of the auditorium on the left, then it seems fairly obvious that parts of the roof structure are “boxed out”—you can see the diagonal parts (I’m sure they have a name?) of the central roof truss.
So it becomes pretty obvious that the LSQ IMAX has the biggest screen size possible within the cinema’s demise. As 1.43:1 IMAX content may well be framed with 1.78:1 in mind for “home video” releases, it doesn’t seem unreasonable that the extra height could be used.
It seems odd that they’d have bothered to “jam” the screen in vertically otherwise, whilst presumably fitting in services (e.g. HVAC ducts), hanging the massive wall behind from the roof to boot, and commensurately moving up the curved parts of the ceiling to allow for sightlines.
It’s all somewhat by-the-by though really, as—because of the excellent geometry/alignment/black levels—1.9:1 content looks absolutely fine anyway. (Of course, for a screen lacking masking, if the projection can’t achieve straight and dark black edges around the picture, the picture won’t be properly framed.)
On the subject of “perfect” projection, or at least projection as good as possible under given conditions, that’s exactly what IMAX tries to do, with daily auto recalibration of picture/sound (camera and microphones in the auditorium for this), and continuous monitoring of the picture with adjustments made by IMAX’s “image enhancer” to keep everything aligned at all times, as well as remote monitoring by IMAX in Mississauga (Ontario, Canada.)
It would, of course, be reasonable to be cynical about IMAX’s claims—albeit some of the system’s details are disclosed in their patents—but at least at the Cineworld/Empire Leicester Square, it seems to work!
Zappomatic: Thank you, once again, for the comprehensive update and all of the photos, forming a very nice record of the foyer refurb.
The “gold” square panels look glitzy indeed! I had thought that they could have addressable lights, or use LED panel modules, programmed with a “glittering” pattern, so it’s a shame that they are just backlit. Wonder what they’re actually made of?
All sounding rather promising (and expensive!) with the stretched fabric ceiling.
Do you mean the carpet pattern featuring circular shapes?
Seems likely that the former Screens 4/5 will feature large reclining red seating, but not sure there’s enough space in the rest as there are already so few rows…
PhilipWW: The auditorium must be approved by IMAX, it isn’t just the equipment in the booth.
For instance, in the case of the Empire/Cineworld LSQ IMAX, some of the seats are not available for IMAX 2D presentations, and even more for IMAX 3D presentations.
Equipment-wise, the screen and surround speakers are supplied by IMAX also.
If you take a very close look at the part of IMAX’s Installation of the Empire Leicester Square IMAX video (direct link to time) where the screen is being carried into the auditorium, you’ll notice the screen was supplied by Strong/MDI.
No idea whether they make a custom product for IMAX. However, for polarisation-based 3D systems, IMAX does have their own silver spray paint system which is actually applied by a custom rig in-situ, for example:
Of course, the Empire was due to have the laser projection system installed, which uses wavelength-based 3D, i.e. slightly different RGB wavelengths for each eye, with the unwanted wavelengths filtered by the glasses, so I guess they didn’t bother with the silver coating as the screen would need to be replaced. (Ditto at the Chinese Theatre, going by the timelapse video of the IMAX conversion.)
As for aspect ratio, Empire Cinemas stated the screen size as 26.5mx15.6m (~87ft.x51ft), yielding a ratio of approx 1.7:1.
(Notice that the screen isn’t completely filled in the above linked video, as the Xenon light source IMAX projectors were installed then.)
The IMAX with Laser projection system is capable of 1.4:1 for “classic” IMAX venues, and I’m not sure whether the extra height is actually used at the Cineworld/Empire LSQ, although it did seem to be well-filled for “Dunkirk.”
It’s a somewhat moot point as most IMAX content is now maximum (or should that be minimum?) 1.9:1 anyway. The “letterboxing” occurs, of course, with many IMAX features, as not all are 1.9:1 throughout or at all.
Empire Cinemas gave the Superscreen size as 20.5mx11m (~67ft.x36ft.), or approx. 1.85:1 ratio. I’m not sure if the projectors can actually fill the screen either horizontally or vertically (haven’t been there in some time.) It is, however, equipped with dual 4K projection, moved over from the former Screen 1. (2xBarco DP4K-32B.)
Can the LSQ Superscreen be considered as a “premiere” cinema, or is does that monker only truly apply to the IMAX? I suppose we shall see what Cineworld does in due course, e.g. the former Screen 1 was equipped with 4xBarco 2K projectors for the Avatar premiere, to get adequate 3D brightness levels, early adoption of Dolby Atmos, and back in 35mm days, all the digital sound formats, etc. You’d think laser projection would be ideal for the Superscreen…
P.S. On the subject of the various 3D systems, here’s an interview with Dave Norris, former projection manager at the Empire, by Mark “I Hate 3D” Kermode. He states that the IMAX with Laser system at LSQ achieved over 12 foot-lamberts.
Coincidentally, multiplex refurbishment is the subject of several several articles in the current issue of Cinema Technology Magazine.
Under the “Further information” tab of the Building Standards (not “Building Control” in Scotland!) page you’ve linked to, the declared “Value of Work” is £3m.
The 13th screen seems to have already been refurbished:
Hmm, assuming that Screens 4 and 5 become 1 and 2, that creates a neat arrangement where, as one enters from LSQ, Screens 1-3 are to the left, and 5-7 are up the stairs to the right.
It would perhaps make more sense if the 4DX was Screen 1. However, that would mean the former Screen 6 would be numbered Screen 4, potentially risking annoyed patrons for the 4DX going all the way down the stairs and up again, only to find themselves in the former Screen 6, and then being sent down the stairs again to get to the 4DX!
I suppose the 4DX won’t be signed “Screen 4” anyway, so in practice it should appear to be a sensible arrangement.
PhilipWW: The IMAX screen is not an “IMAX” when non-IMAX content is shown.
For non-IMAX content, only ONE of the two projectors is used. I can’t remember whether IMAX turn off parts of whatever processing is in their “image enhancer” also.
(By definition, they must, since some of what it does doesn’t apply for single projector use—basically to do with auto alignment of the two projectors.)
Last time I was there for a 3D screening, before the main feature, I explained to some American tourists a couple of rows in front why they could only see through one of the 3D glasses lenses. They thought the glasses were foggy or something had gone wrong—albeit I suspect they weren’t exactly looking for the technical blurb on colour filtered lenses, used for IMAX with Laser, that I fed them with!
Admittedly, the only time I think this has happened for the main feature of a public screening (outside of e.g. Frightfest) is with “The Imitation Game,” and clearly Cineworld are having no problems getting “big title” IMAX films booked.
I imagine all references to the “IMPACT” screen are being dropped by Cineworld, although funnily enough, the current price list on their site actually has the Superscreen logo for the column of the prices table, but beneath it has “Off peak saver… Save £2.00 IMAX & IMPACT…”!
Still quite a way to go with final finishes, although it looks hopeful…
The “VIP” bar shown in the photo to which you provided a link is dire!
I’m guessing, from your photo into it in a stripped out state, that the former Screen 4 will be completely restepped with new “luxury” seating.
Robert: The former Screen 9 was indeed at the very upper level, in what was marked in plans in a previous licensing application as the “Film Booking Office”!
Berefit of any quality design other than (what I assume to be) a nice custom-made carpet, this fine theatre has been converted into a nightmare, what I would regard to be the very opposite of “escape to the movies”: a tacky socialites' cavern. :–(
I suppose it’s a different situation to the first weeks of a first run film where the distributor gets a large percentage of the net box office. Given the high level of seat fill, it seems that it would be good for Cineworld to do more of these “IMAX Film Festival” programmes off-season.
Regarding the positioning of the new concessions counter, I think you are right that it has been moved back.
Looking also at the “Cinema Level” plan in the 2016 licensing documents, it looks like it’s now in line with the kink in the wall for the store room/fire exit doors to Leicester Place/(what was then) Screen 4, liberating what I estimate to be ~5ft. of space—and thereby alleviating the “concession queues block toilets” scenario.
Is the “fake marble” counter material the same as used in other current generation Cineworld refurbs/new builds?
Zappomatic: Compared to the “commercial grade” RGBW LED strip I have*, I wouldn’t say it’s anywhere near as bright without a diffuser, even just turning one of the four LEDs in each chip on at full intensity. I think mine is somewhat brighter if I add a milky/opal diffuser.
With a clear lens-type diffuser or no diffuser, it’s actually dazzlingly bright directly viewed, particularly at close proxmity, possibly even to a dangerous extent—given that theirs are installed on the columns/pillars, one can imagine, say, kids being “stupid”, so I’m not sure such intensity would be sensible in that application.
OTOH, mine is concealed and angled towards a matt black finished wall (acoustic absorption), so I need as much output as possible!
That said, even with a more modest output, as a narrow “linear” light source, the LED strips may well appear rather bright compared to a darkened cinema auditorium.
Did you also find the “linear” LED mountings previously on the sidewalls/ceiling of the O2’s Superscreen excessively bright?
The recent inclement weather particularly affected rail services in my area, so I’ve still not had a chance to take a look.
I’ll be in the West End today, but it looks like there’s an “IMAX Film Festival”—trying to complete an online booking for a single seat results in a message stating that there is a minimum number of seats required. (The pricing is also odd, e.g. £3.70 adult (without “My Cineworld Plus” or an “Unlimited” card.) It works if I try to book 3 seats, at which point it turns out the IMAX auditorium is already fully booked from Row C to N in the central section.
Looks like all plans I have to get there before the foyer is complete are jinxed!
The new concessions counter is looking rather good, I must say.
Chapman Taylor have posted a news item on the project:
Cineworld Leicester Square Opens.
It says that the foyer areas were designed by Innebo Architects of Warsaw, whilst the 4DX is attributed to Chapman Taylor’s leisure team.
Excerpts:
“Cineworld Leicester Square, formerly Empire, is a world-famous cinema in the heart of London’s leading entertainment district. […]
“The refurbishment of the […] cinema’s lobbies [has been to the] highest standards of finishing […]
“This refurbishment helps put this renowned film venue at the industry’s cutting-edge. We wish Cineworld all the very best success with this landmark development.”
Renderings on Innebo Architects' site.
It can be seen that the foyer design has evolved a bit since those images were created, with changes to the ceiling adjacent to the entrance doors, auditorium entrances, concealed lighting, and large wall signs.
Innebo Architects' “portfolio” pages show that they have been involved in several projects for Cineworld Group on an international basis, with the current house imaging style, whoever conceived it, shared across Cineworld and Cinema City sites.
That being said, I did manage today to have a quick look at the new foyer from the lower vestibule, and I’ve uploaded a few photos.
From what I could see there, the fit-out has been completed to a very high standard indeed. I’m not sure if the dark grey wall finishes are paint, but they are extremely smooth and flat—and no roller or paintbrush marks or wonky plasterwork in sight.
The glossy lacquered stretched fabric ceiling is stunning, and the concealed lighting actually provides quite even illumination when seen in person.
There was music playing at the top of the vestibule/stairs, as could be heard in Zappomatic’s YouTube video; however, I was slightly surprised that it wasn’t audible externally. (I assume they don’t have licencing for this?)
The LED display modules fronting the step risers and the curved wall are very bright compared to the surrounding environment; and perhaps the new foyer is actually too dark, or perceptually they result in the impression of relative darkness, but it felt like stepping into a cinematic environment rather than a “graduated” progression into one.
The “gold” squares in the ceiling appear to simply be acrylic/perspex with a dotted pattern somehow applied. Disappointing, but they still look attractive.
The black marble to the left of the vestibule/adjacent to the 4DX entrance has been retained.
Overall absolutely fantastic, and it feels like you’ve entered the “Rolls Royce” of cinemas, with a definite sense of occasion and anticipation. The only question is whether wear and tear will take its toll—there are already a couple of scuffs on the corner of one of the new dark grey walls.
Bravo Cineworld!
Perhaps against my better judgement, I was going to check out the 4DX today to see “Avengers: Infinity War.” Unbelievably, the IMAX, Superscreen and 4DX are all heavily booked, even for the earliest screenings!
For the 19:15 performance in the Superscreen, there are just over 20 non-balcony seats remaining at this time, side seats in row “B” and one far left seat in row “C.”
I’ve posted several links to articles with photos of the 4DX and refurbished foyer on the Cineworld Cinema – Leicester Square 4DX page.
From one of these articles:
“Cineworld’s vice president of operations UK and Ireland Shaun Jones said the Empire in Leicester Square had long been ‘the home of film for the UK.’
“‘All the Hollywood greats were here, when you think of cinema and the West End, the Empire is the cinema you think of,’ he said.
“‘It’s not really had a transformation for many years; we want to bring it up to a modern and technical standard [sic], but equally we want to carry on with the tradition of the Empire by hosting key film events.
“‘It’s really important for us to keep that heritage going.’”
No sign of a new license application with update plans yet, just a new “Change of DPS” (Designated Premises Supervisor) application with no documents.
Wider view of the 4DX.
Photo of the vestibule and another of the 4DX.
From the latter linked article:
“The work turned up some historical artefacts, including a press cuttings book from the early 1950s, with articles about the cinema, visits of Hollywood stars and dancers pulling on tap shoes to mark an auditorium makeover.”
Really now… maybe it was found when they lowered the 4DX’s concrete floor?!
Some more articles with photos:
Photos of the foyer, 4DX, and the “Press Cuttings” book.
View of the 4DX screen from the back of the auditorium.
Still the problem of the low ceiling, but looks like a good remodelling of what was once a throughly unappealing place to see a film. (Particularly if you ended up behind one of the columns as I once did—albeit that was back in the mid-90s!) They’ve certainly managed to “jam” a “4DX” into the old “Ritz” auditorium, and it must have been a nightmare project; it’s so similar in layout to other 4DXs that, if you weren’t aware of the auditorium’s history—and naturally the vast majority of patrons won’t be—you might even think that it was entirely purpose-built!
Thanks Zappomatic, I enjoyed your video.
Good grief, the vestibule up from LSQ reminds me of the Trocadero back in the “Segaworld” days, with its curved video wall (and seemingly the Spice Girls' “Generation Next” Pepsi advert blasted out every 5 minutes over the Turbosound speakers!) I suspect it won’t be to the taste of some around here, but I like being bombarded by video and sound. ;–)
Not sure the main foyer section under the IMAX stadia is as warm and welcoming as before, but I’ll have to see in person. Those sofas can’t be any worse than the previous!
Looks like the left entrance doors/vormitory to the IMAX aren’t intended to be used given that there appears to be no signage?
Now back to having a lie down after the dreadful hot weather… :–(
Definitely LED display modules shown in that photo, in the original you can see the pixel grid and “joins” between modules.
Thanks for the Twitter link.
Not impressed by the concealed lighting installation in general, and I see the large “gold” panels are still sagging.
As a whole it looks impressive, though—definitely better than I’d expected!
Interesting, doesn’t seem to be something that appears among Eomac’s sample photos, but a quick Google search leads to a number of suppliers, at least one of which boasts their product yields a “seamless” finish. Wonder if they will replace the IMAX’s ceiling (though persumably not with reflective material!) as this all seems “no expense spared”…
I guess the right wall is simply painted with Perspex/acrylic strips attached?
Ceiling cove lighting looks a bit inconsistent and still annoyed by the loss of the marble-clad right wall… but… (in a positive way…)
Bl!?dy h#ll!
Ceiling above the curved wall section looks reflective?
(Odd coincidence that the title of films screened seem to reflect the occurrence of the most major works at the Cineworld/Empire LSQ: “Big Bad Wolves,” “Edge of Tomorrow,” and now “Rampage”—although I suppose that one should have coincided with the foyer strip-out!)
A slightly puzzling entry has appeared as a building control application:
“Cineworld 4D 2.0 – Saturday 28 April 2018. The structure will be truss based and include staging, graphics, Heras fencing, mobile LED screen.”
The “Agent Name” is Linney Create.
I can only assume it’s in relation to an opening event for the 4DX, given that the date is around the time of the 4DX opening, and it seems unlikely to be for a premiere of an Indian movie titled “2.0”!
Zappomatic:
Now now, excepting that it needed a lot of tidying up, I’m sure I’m not the only one who liked the old foyer! ;–)
(i.e. Domes/fibre optic starfield lighting/red flocking/marble wall panels (when not covered over with advertising!)/carpet.)
That reminds me—wonder what’s happened to the “Opened by HRH…” plaques?
Anyway, many thanks (yet again) for the update and photos. They do seem to be going to town on the refit—particularly with those “gold” panels!
Among the “junk” under the IMAX’s stadia, I can see what I’d assume to be sacks of Mapei screed, tubs of Mapei tile adhesive… and what might be boxes of tiles. New floor coming very soon, I’d imagine…
LOL!
PhilipWW: You’re most welcome, I’m glad to hear it’s appreciated!
IMAX don’t use the standard DCP format, they have their own extended version, IDF (IMAX Digital Format.) No idea what resolutions/frame rates are supported.
In any case, a different package would be supplied for laser venues, as the colour grading is different for “IMAX with Laser.” IMAX themselves listed 70mm IMAX, IMAX with Laser and IMAX Digital (Xenon) as the different IMAX formats “Dunkirk” was released in, and see also the IMDb Technical Specifications page for Dunkirk—notice the 1.43:1 ratio for IMAX with Laser.
The “laser” part of the projection is only the light source, DLP chips (or LCoS/SXRD in the case of Sony) are still used. Greater screen brightness, wider colour gamut (increased range of colours), and deeper blacks. On the other hand it has a number of technical challenges, hence IMAX acquired a number of patents from Kodak. The most well known is the “speckling” issue—one way IMAX ameliorates that is by attaching lots of small transducers (speakers) to the screen, which constantly slightly shake it!
I fully agree with your comments on framing and the strange design choices of so-called “large format” screens. I think the concept is, as with IMAX, to present a large wall-to-wall, floor-to-ceiling screen to the patron as soon as they walk into the cinema.
If one looks at a 1928 photo of the Empire Leicester Square Rebuilding Works and compares it to this part (direct link to time in video) of the The Installation of the Empire Leicester Square IMAX, looking carefully at the front of the auditorium on the left, then it seems fairly obvious that parts of the roof structure are “boxed out”—you can see the diagonal parts (I’m sure they have a name?) of the central roof truss.
So it becomes pretty obvious that the LSQ IMAX has the biggest screen size possible within the cinema’s demise. As 1.43:1 IMAX content may well be framed with 1.78:1 in mind for “home video” releases, it doesn’t seem unreasonable that the extra height could be used.
It seems odd that they’d have bothered to “jam” the screen in vertically otherwise, whilst presumably fitting in services (e.g. HVAC ducts), hanging the massive wall behind from the roof to boot, and commensurately moving up the curved parts of the ceiling to allow for sightlines.
It’s all somewhat by-the-by though really, as—because of the excellent geometry/alignment/black levels—1.9:1 content looks absolutely fine anyway. (Of course, for a screen lacking masking, if the projection can’t achieve straight and dark black edges around the picture, the picture won’t be properly framed.)
On the subject of “perfect” projection, or at least projection as good as possible under given conditions, that’s exactly what IMAX tries to do, with daily auto recalibration of picture/sound (camera and microphones in the auditorium for this), and continuous monitoring of the picture with adjustments made by IMAX’s “image enhancer” to keep everything aligned at all times, as well as remote monitoring by IMAX in Mississauga (Ontario, Canada.)
It would, of course, be reasonable to be cynical about IMAX’s claims—albeit some of the system’s details are disclosed in their patents—but at least at the Cineworld/Empire Leicester Square, it seems to work!
Zappomatic: Thank you, once again, for the comprehensive update and all of the photos, forming a very nice record of the foyer refurb.
The “gold” square panels look glitzy indeed! I had thought that they could have addressable lights, or use LED panel modules, programmed with a “glittering” pattern, so it’s a shame that they are just backlit. Wonder what they’re actually made of?
All sounding rather promising (and expensive!) with the stretched fabric ceiling.
Do you mean the carpet pattern featuring circular shapes?
Seems likely that the former Screens 4/5 will feature large reclining red seating, but not sure there’s enough space in the rest as there are already so few rows…
PhilipWW: The auditorium must be approved by IMAX, it isn’t just the equipment in the booth.
For instance, in the case of the Empire/Cineworld LSQ IMAX, some of the seats are not available for IMAX 2D presentations, and even more for IMAX 3D presentations.
Equipment-wise, the screen and surround speakers are supplied by IMAX also.
If you take a very close look at the part of IMAX’s Installation of the Empire Leicester Square IMAX video (direct link to time) where the screen is being carried into the auditorium, you’ll notice the screen was supplied by Strong/MDI.
No idea whether they make a custom product for IMAX. However, for polarisation-based 3D systems, IMAX does have their own silver spray paint system which is actually applied by a custom rig in-situ, for example:
London BFI IMAX Screen Replacement. (Direct link to time again.)
Of course, the Empire was due to have the laser projection system installed, which uses wavelength-based 3D, i.e. slightly different RGB wavelengths for each eye, with the unwanted wavelengths filtered by the glasses, so I guess they didn’t bother with the silver coating as the screen would need to be replaced. (Ditto at the Chinese Theatre, going by the timelapse video of the IMAX conversion.)
As for aspect ratio, Empire Cinemas stated the screen size as 26.5mx15.6m (~87ft.x51ft), yielding a ratio of approx 1.7:1.
(Notice that the screen isn’t completely filled in the above linked video, as the Xenon light source IMAX projectors were installed then.)
The IMAX with Laser projection system is capable of 1.4:1 for “classic” IMAX venues, and I’m not sure whether the extra height is actually used at the Cineworld/Empire LSQ, although it did seem to be well-filled for “Dunkirk.”
It’s a somewhat moot point as most IMAX content is now maximum (or should that be minimum?) 1.9:1 anyway. The “letterboxing” occurs, of course, with many IMAX features, as not all are 1.9:1 throughout or at all.
Empire Cinemas gave the Superscreen size as 20.5mx11m (~67ft.x36ft.), or approx. 1.85:1 ratio. I’m not sure if the projectors can actually fill the screen either horizontally or vertically (haven’t been there in some time.) It is, however, equipped with dual 4K projection, moved over from the former Screen 1. (2xBarco DP4K-32B.)
Can the LSQ Superscreen be considered as a “premiere” cinema, or is does that monker only truly apply to the IMAX? I suppose we shall see what Cineworld does in due course, e.g. the former Screen 1 was equipped with 4xBarco 2K projectors for the Avatar premiere, to get adequate 3D brightness levels, early adoption of Dolby Atmos, and back in 35mm days, all the digital sound formats, etc. You’d think laser projection would be ideal for the Superscreen…
P.S. On the subject of the various 3D systems, here’s an interview with Dave Norris, former projection manager at the Empire, by Mark “I Hate 3D” Kermode. He states that the IMAX with Laser system at LSQ achieved over 12 foot-lamberts.
Coincidentally, multiplex refurbishment is the subject of several several articles in the current issue of Cinema Technology Magazine.
Under the “Further information” tab of the Building Standards (not “Building Control” in Scotland!) page you’ve linked to, the declared “Value of Work” is £3m.
The 13th screen seems to have already been refurbished:
Building Standards Warrant Summary for 4DX Auditorium Conversion.
The declared “Value of Work” for which is £450,000, and the “Completion Accepted Date” is the 17th January 2018.
The 8/70 format Iwerks system mentioned in CT’s description has presumably long since been removed.
Hmm, assuming that Screens 4 and 5 become 1 and 2, that creates a neat arrangement where, as one enters from LSQ, Screens 1-3 are to the left, and 5-7 are up the stairs to the right.
It would perhaps make more sense if the 4DX was Screen 1. However, that would mean the former Screen 6 would be numbered Screen 4, potentially risking annoyed patrons for the 4DX going all the way down the stairs and up again, only to find themselves in the former Screen 6, and then being sent down the stairs again to get to the 4DX!
I suppose the 4DX won’t be signed “Screen 4” anyway, so in practice it should appear to be a sensible arrangement.
PhilipWW: The IMAX screen is not an “IMAX” when non-IMAX content is shown.
For non-IMAX content, only ONE of the two projectors is used. I can’t remember whether IMAX turn off parts of whatever processing is in their “image enhancer” also.
(By definition, they must, since some of what it does doesn’t apply for single projector use—basically to do with auto alignment of the two projectors.)
Last time I was there for a 3D screening, before the main feature, I explained to some American tourists a couple of rows in front why they could only see through one of the 3D glasses lenses. They thought the glasses were foggy or something had gone wrong—albeit I suspect they weren’t exactly looking for the technical blurb on colour filtered lenses, used for IMAX with Laser, that I fed them with!
Admittedly, the only time I think this has happened for the main feature of a public screening (outside of e.g. Frightfest) is with “The Imitation Game,” and clearly Cineworld are having no problems getting “big title” IMAX films booked.
I imagine all references to the “IMPACT” screen are being dropped by Cineworld, although funnily enough, the current price list on their site actually has the Superscreen logo for the column of the prices table, but beneath it has “Off peak saver… Save £2.00 IMAX & IMPACT…”!
You, too, can hire it out for a disco night!
YouTube video of the Ziegfeld Ballroom.
(IMO… tacky in all respects…)
Zappomatic: Thank you for the update and photos.
Still quite a way to go with final finishes, although it looks hopeful…
The “VIP” bar shown in the photo to which you provided a link is dire!
I’m guessing, from your photo into it in a stripped out state, that the former Screen 4 will be completely restepped with new “luxury” seating.
Robert: The former Screen 9 was indeed at the very upper level, in what was marked in plans in a previous licensing application as the “Film Booking Office”!
Video of the auditorium shot during the end credits of the final screening (Back to the Future III).
“Photosphere” 360° photo.
Berefit of any quality design other than (what I assume to be) a nice custom-made carpet, this fine theatre has been converted into a nightmare, what I would regard to be the very opposite of “escape to the movies”: a tacky socialites' cavern. :–(
I suppose it’s a different situation to the first weeks of a first run film where the distributor gets a large percentage of the net box office. Given the high level of seat fill, it seems that it would be good for Cineworld to do more of these “IMAX Film Festival” programmes off-season.
Regarding the positioning of the new concessions counter, I think you are right that it has been moved back.
Looking also at the “Cinema Level” plan in the 2016 licensing documents, it looks like it’s now in line with the kink in the wall for the store room/fire exit doors to Leicester Place/(what was then) Screen 4, liberating what I estimate to be ~5ft. of space—and thereby alleviating the “concession queues block toilets” scenario.
Is the “fake marble” counter material the same as used in other current generation Cineworld refurbs/new builds?
Zappomatic: Compared to the “commercial grade” RGBW LED strip I have*, I wouldn’t say it’s anywhere near as bright without a diffuser, even just turning one of the four LEDs in each chip on at full intensity. I think mine is somewhat brighter if I add a milky/opal diffuser.
With a clear lens-type diffuser or no diffuser, it’s actually dazzlingly bright directly viewed, particularly at close proxmity, possibly even to a dangerous extent—given that theirs are installed on the columns/pillars, one can imagine, say, kids being “stupid”, so I’m not sure such intensity would be sensible in that application.
OTOH, mine is concealed and angled towards a matt black finished wall (acoustic absorption), so I need as much output as possible!
That said, even with a more modest output, as a narrow “linear” light source, the LED strips may well appear rather bright compared to a darkened cinema auditorium.
Did you also find the “linear” LED mountings previously on the sidewalls/ceiling of the O2’s Superscreen excessively bright?
(* Dexxon Lighting 24V – 60x RGBW 5050 LEDs/m – 19.2W/m – IP20 LED strip. N.B. I wouldn’t trust any of the specs on that page!)
Indeed! Expressed that way, though, even more odd. £3 for an IMAX with Laser screening in the West End?
Thanks Zappomatic for all the updates and photos.
The recent inclement weather particularly affected rail services in my area, so I’ve still not had a chance to take a look.
I’ll be in the West End today, but it looks like there’s an “IMAX Film Festival”—trying to complete an online booking for a single seat results in a message stating that there is a minimum number of seats required. (The pricing is also odd, e.g. £3.70 adult (without “My Cineworld Plus” or an “Unlimited” card.) It works if I try to book 3 seats, at which point it turns out the IMAX auditorium is already fully booked from Row C to N in the central section.
Looks like all plans I have to get there before the foyer is complete are jinxed!
The new concessions counter is looking rather good, I must say.