This feels like scaling the heights of trivial obscurity—but I may as well post since I stumbled on it…
Camden Council’s planning website lists an application from 1954 (!) relating to permission for neon signage. In the document titled “drawing,” the spelling shown is “La Continental.”
The letterheading on the “decision notice” document is the “Metropolitan Borough of Saint Pancras”—I must confess that it is news to me that such an entity ever existed! (Note that the “decision notice” is not the correct document—it is actually relates to signage over at the former Berkeley Cinema, 30 Tottenham Court Road.)
Lionel: The flickr account holder “dusashenka” (your Eros Piccadilly link is to an album of that user) certainly does have an amazing and large collection of photos, and I’ve certainly enjoyed browsing through them! ;–)
I still get “goosebumps” in anticipation of seeing a presentation of a first class movie in a first class venue. I don’t think I ever took it for granted—as long as I’ve been old enough to go to the cinema unaccompanied, it was obvious that the largest auditoria were on “borrowed time.”
Less obvious were the coming changes to auditorium design, and, the move to digital photography and projection.
(In the former case, digital cameras, I remember suggesting to someone in the late 90s—that they would NEVER be good enough to match 35mm…!)
Even if we might not consider all the changes to be welcome, I don’t think it is necessary to get too nostaglic. This is an amazing time—ranging from dual 4K laser projection to the “immersive” sound formats to the latest 65mm sensor cameras from Arri, Panavision and Sony.
Select classic titles are getting digital re-releases with new full restorations from the original negatives, in some cases yielding far better quality than would ever have been seen from a release print. For example, just a couple of months ago “Apocalypse Now”—with a Q&A shown after the film.
I do hope you are seeking out the best cinemas in your neck of the woods and enjoy visiting them.
According to a press release titled “Christie RealLaser Helps Cineworld Eastbourne Become Europe’s First All-RGB Laser Cineplex,” Picturehouse Central has received an upgrade to Christie RGB laser projection. The specific auditorium is not mentioned, so it might be imagined that Screen 1 has received the upgrade.
According to a press release titled “Christie RealLaser Helps Cineworld Eastbourne Become Europe’s First All-RGB Laser Cineplex,” the Superscreen has been upgraded to Christie RGB laser projection.
The JBL’s you mention, are as you say much the same size as the “old” ones. Heavy, yes, but not very deep in size!
Just to clarify, the OLS has certainly used JBLs for a long time (I’ve included some information about the pre-1998 system in the above comment)—but the new system uses Dolby SLS speakers; these are quite different in design; whereas the older screen speakers used large horns for mid/high frequencies, these use modular “arrays” built up from much smaller units (each about the size of a “bookshelf” sized speaker—one that fits on a bookshelf, that is!) bolted together, hopefully creating a custom array to suit the coverage/dispersion needed in the auditorium.
The specification is listed in the relevant Cinema Technology article (see FanaticalAboutOdeon’s post dated Mar 2, 2019) but this unfortunately does not include a complete specification for the screen speakers, in particular the number of units that make up each array. A rough guestimation is that they might be a bit heavier than the old JBL 3-way horns that were used—although JBLs were massive in size—80cm deep!
Do you know whether the new proscenium tabs are in use yet? If it was a motor issue, AMC does not seem to consider it’s remedy that important, if they are still not in use.
Unfortunately not!
I chose to watch “Once Upon a Time In Hollywood” projected using the IMAX with Laser GT system across LSQ. (OK, the Cineworld Leicester Square, if I must call The Empire that. :–()
Intermediates for the film were digital according to IMDb “Technical Specifications” so whilst watching film might be fun but I’d imagine that would be the best picture available. And, indeed, it did look good. It would certainly have been interesting to watch it in 70mm by way of comparison, had that been available!
(Incidentally, I noticed that the large “high level” LED module display on the OLS' façade was advertising 35mm projection—whilst also saying “SEE IT IN DOLBY CINEMA.” (!))
How did you find the 70mm presentation over at the Cinerama Dome in LA? Too bad I’ve never visited the West Coast. :–(
An article in the November 1996 issue of “V.TV” magazine (a home cinema magazine “from What Hi-Fi?”) titled “The power behind the screen” lists the projection and sound equipment at the OLS as follows (i.e. prior to the 1998 refurbishment):
Projection:
3x Cinemeccanica Victoria 8
3x Cinemeccanica Zenith 6500H lamp-houses with 4kW Xenon lamps
Sound:
Dolby CP200 Accessory/Control/Processor Unit Dolby SRA-5 Dolby SR Noise Reduction Dolby DA20 Dolby Digital Cinema Processor DTS Processor SDDS Processor
Amplification:
10x JBL 6290 amplifiers (bridged) – 1200W/channel for five front speakers
2x MPA 600 amplifiers (bridged) – 1200W/channel for subwoofers
2x JBL 6290 amplifiers – 4x600W to surrounds
Front speakers:
5x JBL 4675C (each comprising 1x JBL 4675C-HF high frequency horns and 2xJBL 4648 bass/mid)
Surround:
28x JBL 8330
Subwoofers:
2x JBL 4688 TCB
My recollection is that the sound system sounded good, notwithstanding the difficult and “echoic” acoustics. However, this wasn’t really an adequate specification for the capabilities of the “new” digital sound formats, above all LFE, so it was just as well that a complete overhaul was just around the corner from the time that the article was published.
A rare photo of the auditorium with the 1987 splay-wall “waves” feature, as well as the booth (including projectors and racks) and behind the screen are included (scans may follow.)
LoveCinema: Thank you for the information on digital automation/playlists/etc.
The wall at the back of the stage house is clearly a plasterboard wall (British Gypsum SoundBlock product from the “purple” coloured facing paper) and thus is for soundproofing and not structural reinforcement.
AFAIK the previous screen speaker system was 5x JBL 5674, which weigh ~170kg each, plus 4xLW Speakers 6017 dual 21" subwoofers (replacement equivalent model, 6117, weighs 110kg) as an LFE upgrade more recently.
It can be seen from the links that these products are very big!
Presumably, the replacement system is suspended from the fly tower. I recall reading about strengthening needed for the ceiling-hung speakers in the auditorium itself, presumably for the large line arrays and Atmos rear subwoofers rather than the smaller Atmos overheads, but I don’t think the replacement Dolby SLS screen speakers would weigh that much more than previous.
It would seem to me that the reason for moving the screen forward is because the reduced size was necessitated for some reason and therefore moving it forward helped compensate for this, or, simply, that it creates a more “modern” look. But, short of a definitive answer, it would seem that it will remain a mystery…
Has anyone paid a visit to the OLS for the 35mm presentation of “Once Upon a Time in Hollywood”? Seems like a good opportunity for someone with a clue (e.g. projectionist!) to get the tabs/lighting operating as they should…
In addition to the Superscreen sidewall signage mentioned by Zappomatic, similar signage has also been added to the IMAX auditorium. (Photo uploaded.)
In the photo, this signage doesn’t look so bad; however, the illumination is uneven, particularly for the white “Leicester Square” section, and the kerning (spacing) for the IMAX type (“Microgamma” typeface) is incorrect, with the “X” in particular too far from the “A,” and the second letter “e” in “Leicester Square” is slightly rotated anti-clockwise, rather than being straight.
Also, the quality of the LEDs used does not match those used for the concealed LED bars or house lights of the auditorium (OSRAM.)
Worst of all, for the screening I attended (matinée performance of “Once a Time in Hollywood,”) they remained fully illuminated until the start of the main feature, and then simply switched off.
IMO they look completely ridiculous, and, it hardly seems necessary to remind patrons that they are in an IMAX, when its logo is plastered on all 723 seats.
(Just noticed a correction to the CT description—the seat count given for the IMAX auditorium of 751 seats is incorrect—the 2016 licensing plans state 723 seats [plus 6 accessible spaces.])
In every other respect, the cinema was absolutely fine, with the usual excellent picture/sound from the IMAX with Laser GT installation, effective air conditioning, and all lights were off during the main feature.
I think the rendering shows the basic form/layout of the auditoria but I can’t imagine that the finishes will look as shown. The seating arrangement drawn seems to include some oddities, too; but it does suggest that the recliner/premium seating approach will be taken with a commensurate reduction in capacity.
Disappointing to see a floating screen in the main auditorium; that’s how it is drawn in the planning application also.
Still, the larger auditorium, as drawn in the planning application, includes a ~50ft. wide screen, so one might still hope for an ISENSE screen with laser projection and Atmos sound…
I assume Screen 16 is the one marked Screen 8 on the planning application, as that is the largest of the new auditoria.
The screen width for that auditorium, measured off plans, is ~18m (~60ft.) Seating distance to screen width ratio varies from, somewhat roughly, 0.35 to 1.35x (first to last rows.)
So, it sounds like it could provide a good experience.
Zappomatic: How did you find the picture/sound? I expect laser projection will have been installed, but presumably, not Atmos?
Most changes are relatively minor; some details of particular note:
A document titled “McFarlanelatter_Odeon_Holloway Road_Presentation_P” has been added, which includes some historic photos, and a cross-sectional drawing with the original finishes labelled as follows: Panels – rich cream; Frieze – blue (“picked out” in gold and silver); Columns – black bases, “picked out” in gold; balustrate – carved walnut. Decorative elements of the circle foyer/lounge are also described.
New foyer colours: Dulux 10YY 72/021 (Warm Beige); Dulux 62BB 08/369 (Blue); Dulux 30BB 05/022 (Black) gloss; “silver and gold decorative paint.” Cross-sectional drawings and a photo are labelled with the proposed colour scheme.
The document titled “HERITAGE STATEMENT” has been updated.
It states that the foyer/restaurant link has been removed.
1958 suspended ceiling to be removed from auditorium, due to its “[poor] integrity in areas [accessible] above Screen 6,” “punctured in many places,” and Odeon’s desire to “remove any future risk from the condition of the ceiling.”
Removal of the ceiling enables Auditorium ½ to have the screen raised “so that [the] viewing angle from the new seating can meet Odeon’s/industry standards.”
Old skylight (covered over) above stage house to be removed, new flat roof.
Confusingly, whilst “REV B” of the “PROPOSED SECTION” shows a new (higher than existing) ceiling above Auditoria ½, labelled “NEW CEILING FIXED TO U/S TRUSSES,” and the old suspended ceiling removed—the “REV C” version of the “PROPOSED SECTION” shows the existing suspended ceiling, labelled “EXISTING CEILING RETAINED.”
(N.B. I have not summarised any proposed external changes, e.g. new signage.)
The document titled “Officer Report & Associated Documents Final
Report,” dated 25th June 2019, recommends approval. The planning database states that this revised scheme has been approved, but no approval document is included at this time.
See the link to “RELATED DOCUMENTS” at the bottom of the page.
The works are outlined in the “HERITAGE STATEMENT” document.
To summarise:
Removal of Auditorium 3, which had been “[inserted] into the first floor foyer tea room,” to “[reinstate] the dramatic original foyer volume,” with expectation that this will “reveal the original balustrade, ceiling and fenestration.”
Shops converted to restaurant, “linked to the foyer.”
New lift to first floor and “corridor to rear of the circle” for “wheelchair access.”
Auditoria 1-6 to have replacement floor “to a new rake” (replacing the existing floor built above the original.)
The document titled “Dwg OD-HW-145-PLN – Proposed Section” provides a good illustration of the new stepping and seating, clearly showing recliners in Auditorium 2 and 4—the plans show recliners in all auditoria.
According to the “HERITAGE STATEMENT” document, Odeon are planning on making this a “flagship” site, combining heritage aspects with the (non-listed) auditoria fully refurbished to current standards, clearly implying it will be a “LUXE”-branded site.
Chapman Taylor’s website has been updated with new photos of the refurbished/extended Cineworld O2, including shots of what I assume to be the “VIP” lobby/bar, and a “VIP” auditorium.
PhilipWW: The three examples of multiplexes that you cite are almost certainly (or in the case of Finchley Road (O2 Centre) definitely) Warner Bros. International Theatres “house style” designs. As mentioned previously elsewhere on CT, the same design—beginning in the latter half of the 1990s—was used on an international basis, including “Warner Mycal” multiplexes in Japan!
These could be considered to be a “second generation” multiplex design, with steep stepped “stadium-style” seating, flat stretched fabric wall coverings (instead of the “Soundfold” pleated type), and, perhaps, an “evolution” (?) towards today’s “box” design with more modestly splayed walls to the front of the auditorium; whilst retaining a masked screen with a proscenium of sorts, tabs were dispensed with.
As you say, the larger auditoria in these cinemas were indeed fitted with “scope” screens.
Talking of the development of Warners' 1990s design, Chapman Taylor’s website includes a profile/interview with David Wallace, former Senior Vice-President of Architecture/Construction at Warner Bros., now a Director at Chapman Taylor.
I’m not sure how Warner designs changed beyond this point; UCI, for example, introduced “the filmworks” brand with the now de rigueur “black box” auditoria. Post-buyout and rebrand to “Vue,” clear examples of “Vue-specific” designs are the two Westfield mall venues in London; but I’m not sure if they had developed much before that, at least in terms of form and not the finishes.
I’m not overly familar with the Westfield venues, but the Xtreme auditoria (certainly at Westfield London, Shepherds Bush) certainly are, I’m afraid, fitted with “flat” screens.
It is, perhaps, instructive to consider that the Westfield cinemas opened as digital-only sites…
Vue’s current new build rate appears to be very slow, with only one new site opening per year, according to this list on the CTA’s website.
Looking at photos of Vue Bromley, it has exactly the same style as Vue Eltham (albeit it has the benefit—or disadvantage, depending on your opinion!—of all-recliner seating.)
However, it is not a “boothless” cinema, as Vue Eltham is.
(N.B. I have located the main planning application for Vue Bromley; links and some key points extracted from them to follow on the respective CT page…)
Spanlite – Odeon Leicester Square feature wall.
Case study on the “feature wall” installed in the landing between the two sets of escalators to/from the circle lounge.
A “custom framing and mounting system” was fabricated for the wall, which is equipped with:
Additionally:
Include on the above-linked page are some high quality photos of the wall.
This feels like scaling the heights of trivial obscurity—but I may as well post since I stumbled on it…
Camden Council’s planning website lists an application from 1954 (!) relating to permission for neon signage. In the document titled “drawing,” the spelling shown is “La Continental.”
The letterheading on the “decision notice” document is the “Metropolitan Borough of Saint Pancras”—I must confess that it is news to me that such an entity ever existed! (Note that the “decision notice” is not the correct document—it is actually relates to signage over at the former Berkeley Cinema, 30 Tottenham Court Road.)
Lionel: Many thanks for uploading the video. Amazing that you brought an 8mm camera over here in the late 1980s!
Lionel: The flickr account holder “dusashenka” (your Eros Piccadilly link is to an album of that user) certainly does have an amazing and large collection of photos, and I’ve certainly enjoyed browsing through them! ;–)
I still get “goosebumps” in anticipation of seeing a presentation of a first class movie in a first class venue. I don’t think I ever took it for granted—as long as I’ve been old enough to go to the cinema unaccompanied, it was obvious that the largest auditoria were on “borrowed time.”
Less obvious were the coming changes to auditorium design, and, the move to digital photography and projection.
(In the former case, digital cameras, I remember suggesting to someone in the late 90s—that they would NEVER be good enough to match 35mm…!)
Even if we might not consider all the changes to be welcome, I don’t think it is necessary to get too nostaglic. This is an amazing time—ranging from dual 4K laser projection to the “immersive” sound formats to the latest 65mm sensor cameras from Arri, Panavision and Sony.
Select classic titles are getting digital re-releases with new full restorations from the original negatives, in some cases yielding far better quality than would ever have been seen from a release print. For example, just a couple of months ago “Apocalypse Now”—with a Q&A shown after the film.
I do hope you are seeking out the best cinemas in your neck of the woods and enjoy visiting them.
Funky!
According to a press release titled “Christie RealLaser Helps Cineworld Eastbourne Become Europe’s First All-RGB Laser Cineplex,” Picturehouse Central has received an upgrade to Christie RGB laser projection. The specific auditorium is not mentioned, so it might be imagined that Screen 1 has received the upgrade.
According to a press release titled “Christie RealLaser Helps Cineworld Eastbourne Become Europe’s First All-RGB Laser Cineplex,” the Superscreen has been upgraded to Christie RGB laser projection.
Errata: “it looks on-board current regulation is incorporated” should read “it looks like on-board current regulation is incorporated.”
Addendum: Photo courtesy of LARGE_screen_format.
Errata: “it looks on-board current regulation is incorporated” should read “it looks like on-board current regulation is incorporated.”
Addendum: Photo courtesy of LARGE_screen_format.
Addendum: Photo courtesy of LARGE_screen_format.
A website has been launched for the hotel (“The Londoner.”) According to the site, the hotel is scheduled for opening in Spring 2020.
RadioVenus:
You’re welcome! :–)
Just to clarify, the OLS has certainly used JBLs for a long time (I’ve included some information about the pre-1998 system in the above comment)—but the new system uses Dolby SLS speakers; these are quite different in design; whereas the older screen speakers used large horns for mid/high frequencies, these use modular “arrays” built up from much smaller units (each about the size of a “bookshelf” sized speaker—one that fits on a bookshelf, that is!) bolted together, hopefully creating a custom array to suit the coverage/dispersion needed in the auditorium.
The specification is listed in the relevant Cinema Technology article (see FanaticalAboutOdeon’s post dated Mar 2, 2019) but this unfortunately does not include a complete specification for the screen speakers, in particular the number of units that make up each array. A rough guestimation is that they might be a bit heavier than the old JBL 3-way horns that were used—although JBLs were massive in size—80cm deep!
Unfortunately not!
I chose to watch “Once Upon a Time In Hollywood” projected using the IMAX with Laser GT system across LSQ. (OK, the Cineworld Leicester Square, if I must call The Empire that. :–()
Intermediates for the film were digital according to IMDb “Technical Specifications” so whilst watching film might be fun but I’d imagine that would be the best picture available. And, indeed, it did look good. It would certainly have been interesting to watch it in 70mm by way of comparison, had that been available!
(Incidentally, I noticed that the large “high level” LED module display on the OLS' façade was advertising 35mm projection—whilst also saying “SEE IT IN DOLBY CINEMA.” (!))
How did you find the 70mm presentation over at the Cinerama Dome in LA? Too bad I’ve never visited the West Coast. :–(
An article in the November 1996 issue of “V.TV” magazine (a home cinema magazine “from What Hi-Fi?”) titled “The power behind the screen” lists the projection and sound equipment at the OLS as follows (i.e. prior to the 1998 refurbishment):
Projection:
3x Cinemeccanica Victoria 8 3x Cinemeccanica Zenith 6500H lamp-houses with 4kW Xenon lamps
Sound:
Dolby CP200 Accessory/Control/Processor Unit
Dolby SRA-5 Dolby SR Noise Reduction
Dolby DA20 Dolby Digital Cinema Processor
DTS Processor
SDDS Processor
Amplification:
10x JBL 6290 amplifiers (bridged) – 1200W/channel for five front speakers 2x MPA 600 amplifiers (bridged) – 1200W/channel for subwoofers 2x JBL 6290 amplifiers – 4x600W to surrounds
Total: 10,800W [Comment: Somewhat meaningless figure!]
Front speakers: 5x JBL 4675C (each comprising 1x JBL 4675C-HF high frequency horns and 2xJBL 4648 bass/mid)
Surround:
28x JBL 8330
Subwoofers:
2x JBL 4688 TCB
My recollection is that the sound system sounded good, notwithstanding the difficult and “echoic” acoustics. However, this wasn’t really an adequate specification for the capabilities of the “new” digital sound formats, above all LFE, so it was just as well that a complete overhaul was just around the corner from the time that the article was published.
A rare photo of the auditorium with the 1987 splay-wall “waves” feature, as well as the booth (including projectors and racks) and behind the screen are included (scans may follow.)
The product currently used for “LUXE Recliner” installs, including the OLS:
Ferco Seating – “Premium Verona Cinema Seat with Electric Foot & Back Rests”.
LoveCinema: Thank you for the information on digital automation/playlists/etc.
The wall at the back of the stage house is clearly a plasterboard wall (British Gypsum SoundBlock product from the “purple” coloured facing paper) and thus is for soundproofing and not structural reinforcement.
AFAIK the previous screen speaker system was 5x JBL 5674, which weigh ~170kg each, plus 4xLW Speakers 6017 dual 21" subwoofers (replacement equivalent model, 6117, weighs 110kg) as an LFE upgrade more recently.
It can be seen from the links that these products are very big!
Presumably, the replacement system is suspended from the fly tower. I recall reading about strengthening needed for the ceiling-hung speakers in the auditorium itself, presumably for the large line arrays and Atmos rear subwoofers rather than the smaller Atmos overheads, but I don’t think the replacement Dolby SLS screen speakers would weigh that much more than previous.
It would seem to me that the reason for moving the screen forward is because the reduced size was necessitated for some reason and therefore moving it forward helped compensate for this, or, simply, that it creates a more “modern” look. But, short of a definitive answer, it would seem that it will remain a mystery…
Has anyone paid a visit to the OLS for the 35mm presentation of “Once Upon a Time in Hollywood”? Seems like a good opportunity for someone with a clue (e.g. projectionist!) to get the tabs/lighting operating as they should…
In addition to the Superscreen sidewall signage mentioned by Zappomatic, similar signage has also been added to the IMAX auditorium. (Photo uploaded.)
In the photo, this signage doesn’t look so bad; however, the illumination is uneven, particularly for the white “Leicester Square” section, and the kerning (spacing) for the IMAX type (“Microgamma” typeface) is incorrect, with the “X” in particular too far from the “A,” and the second letter “e” in “Leicester Square” is slightly rotated anti-clockwise, rather than being straight.
Also, the quality of the LEDs used does not match those used for the concealed LED bars or house lights of the auditorium (OSRAM.)
Worst of all, for the screening I attended (matinée performance of “Once a Time in Hollywood,”) they remained fully illuminated until the start of the main feature, and then simply switched off.
IMO they look completely ridiculous, and, it hardly seems necessary to remind patrons that they are in an IMAX, when its logo is plastered on all 723 seats.
(Just noticed a correction to the CT description—the seat count given for the IMAX auditorium of 751 seats is incorrect—the 2016 licensing plans state 723 seats [plus 6 accessible spaces.])
In every other respect, the cinema was absolutely fine, with the usual excellent picture/sound from the IMAX with Laser GT installation, effective air conditioning, and all lights were off during the main feature.
Thank you Zappomatic. Too bad there are some rough edges that you mention, and Atmos really should have been specified.
curmudgeon: Indeed. What a joke! :–(
I think the rendering shows the basic form/layout of the auditoria but I can’t imagine that the finishes will look as shown. The seating arrangement drawn seems to include some oddities, too; but it does suggest that the recliner/premium seating approach will be taken with a commensurate reduction in capacity.
Disappointing to see a floating screen in the main auditorium; that’s how it is drawn in the planning application also.
Still, the larger auditorium, as drawn in the planning application, includes a ~50ft. wide screen, so one might still hope for an ISENSE screen with laser projection and Atmos sound…
I assume Screen 16 is the one marked Screen 8 on the planning application, as that is the largest of the new auditoria.
The screen width for that auditorium, measured off plans, is ~18m (~60ft.) Seating distance to screen width ratio varies from, somewhat roughly, 0.35 to 1.35x (first to last rows.)
So, it sounds like it could provide a good experience.
Zappomatic: How did you find the picture/sound? I expect laser projection will have been installed, but presumably, not Atmos?
Addendum: There is a further “listed building application” that should be referenced instead.
Most changes are relatively minor; some details of particular note:
New foyer colours: Dulux 10YY 72/021 (Warm Beige); Dulux 62BB 08/369 (Blue); Dulux 30BB 05/022 (Black) gloss; “silver and gold decorative paint.” Cross-sectional drawings and a photo are labelled with the proposed colour scheme.
The document titled “HERITAGE STATEMENT” has been updated.
Confusingly, whilst “REV B” of the “PROPOSED SECTION” shows a new (higher than existing) ceiling above Auditoria ½, labelled “NEW CEILING FIXED TO U/S TRUSSES,” and the old suspended ceiling removed—the “REV C” version of the “PROPOSED SECTION” shows the existing suspended ceiling, labelled “EXISTING CEILING RETAINED.”
(N.B. I have not summarised any proposed external changes, e.g. new signage.)
The document titled “Officer Report & Associated Documents Final Report,” dated 25th June 2019, recommends approval. The planning database states that this revised scheme has been approved, but no approval document is included at this time.
Main planning application.
See the link to “RELATED DOCUMENTS” at the bottom of the page.
The works are outlined in the “HERITAGE STATEMENT” document.
To summarise:
The document titled “Dwg OD-HW-145-PLN – Proposed Section” provides a good illustration of the new stepping and seating, clearly showing recliners in Auditorium 2 and 4—the plans show recliners in all auditoria.
According to the “HERITAGE STATEMENT” document, Odeon are planning on making this a “flagship” site, combining heritage aspects with the (non-listed) auditoria fully refurbished to current standards, clearly implying it will be a “LUXE”-branded site.
The application was approved.
Chapman Taylor’s website has been updated with new photos of the refurbished/extended Cineworld O2, including shots of what I assume to be the “VIP” lobby/bar, and a “VIP” auditorium.
PhilipWW: The three examples of multiplexes that you cite are almost certainly (or in the case of Finchley Road (O2 Centre) definitely) Warner Bros. International Theatres “house style” designs. As mentioned previously elsewhere on CT, the same design—beginning in the latter half of the 1990s—was used on an international basis, including “Warner Mycal” multiplexes in Japan!
These could be considered to be a “second generation” multiplex design, with steep stepped “stadium-style” seating, flat stretched fabric wall coverings (instead of the “Soundfold” pleated type), and, perhaps, an “evolution” (?) towards today’s “box” design with more modestly splayed walls to the front of the auditorium; whilst retaining a masked screen with a proscenium of sorts, tabs were dispensed with.
As you say, the larger auditoria in these cinemas were indeed fitted with “scope” screens.
Talking of the development of Warners' 1990s design, Chapman Taylor’s website includes a profile/interview with David Wallace, former Senior Vice-President of Architecture/Construction at Warner Bros., now a Director at Chapman Taylor.
I’m not sure how Warner designs changed beyond this point; UCI, for example, introduced “the filmworks” brand with the now de rigueur “black box” auditoria. Post-buyout and rebrand to “Vue,” clear examples of “Vue-specific” designs are the two Westfield mall venues in London; but I’m not sure if they had developed much before that, at least in terms of form and not the finishes.
I’m not overly familar with the Westfield venues, but the Xtreme auditoria (certainly at Westfield London, Shepherds Bush) certainly are, I’m afraid, fitted with “flat” screens.
It is, perhaps, instructive to consider that the Westfield cinemas opened as digital-only sites…
Vue’s current new build rate appears to be very slow, with only one new site opening per year, according to this list on the CTA’s website.
Looking at photos of Vue Bromley, it has exactly the same style as Vue Eltham (albeit it has the benefit—or disadvantage, depending on your opinion!—of all-recliner seating.)
However, it is not a “boothless” cinema, as Vue Eltham is.
(N.B. I have located the main planning application for Vue Bromley; links and some key points extracted from them to follow on the respective CT page…)