what was the point of Ang Lee shooting the film the way he did if no theater can in fact show it that way?
Shooting at higher than the target fps can result in better output, basically “temporal oversampling.”
At 24fps, it’s essential to have some motion blur on fast action, otherwise “strobing” is perceived.
For “Gemini Man,” RealD TrueMotion software was used for the down conversion to lower frame rates. It provides a “virtual shutter,” allowing for different options in post-production, even varying by regions within a frame.
There are some video demonstrations on the linked page, including one showing what it can do with the old “reversed wheel rotation” problem, blurring the spokes of the wheels whilst reducing blur that would otherwise have occurred on background objects.
moviebuff82: Have responded to your query on Cinema Treasures' Odeon Leicester Square page. Also commented on the HFR aspect of “Gemini Man,” which might be of interest to you.
How is the Odeon’s dolby screen compared to the AMC in rockaway?
I’d expect the projection system to be the same, albeit off the top of my head the projection system is adjusted to suit the location (e.g. the number of laser modules needed to achieve the target illumination levels on the screen.) That said, I would imagine that, like IMAX Digital, Dolby Cinema projection will quietly (or not so quietly?) go through revisions/iterations over time—e.g. the original IMAX Digital (Xenon) units were equipped with Christie projectors; later they switched to Barco.
As with any Dolby Cinema venue, the OLS obviously supports Dolby Atmos, and the sound system (Dolby SLS speakers and amplifiers) is as highly specified as it could be. I understand that AMC have been converting their “Prime”-branded PLF auditoria to Dolby Cinema locations, and I’d imagine this means fitting a new projection system (and screen) rather than a total overhaul—if this is of interest to you, then e.g. you could always look at the rear or overhead speakers to see what brand/model they are.
The OLS is, of course, a classic 1930’s “super-cinema” (as they were branded in the UK) and thus does not meet today’s “technical” standards for cinema design. The screen is not large enough for the auditorium size, and due to the split balcony/stalls there really is not an optimal seating position. Also, although significant acoustic treatment was added during the refurbishment, the cinema is still “echoic”—whilst much improved, this is still clearly audible on dialogue, although not so bad as to render dialogue unintelligible.
In a nutshell, it’s a world-famous cinema that has “ambience,” “heritage” and “sense of occasion” far beyond the average local multiplex that happens to have a high-end Dolby Cinema system, rather than a clean sheet new build designed from the ground up.
Also, keep in mind that as a location that regularly hosts premières and other special events, there is a greater chance of proper technical upkeep and recalibration to ensure everything is functioning as it should—not to mention, Dolby themselves are nearby in London’s Soho district…
Visited the OLS today to see an early evening performance of “Gemini Man,” being a “3D + HFR” (high frame rate) presentation. More on this aspect later in this post…
I shall cut to the “TL;DR” chase to report that on this occasion, the tabs were NOT in use. Indeed, with the stage end dimly lit (“Odeon Leicester Square Luxe Cinema” logo projected on the screen) their existence could well have gone unnoticed—taking a photo from my (front stalls) seating position required severe overexposure of the screen!
Fortunately, all other aspects were fine, with well programmed lighting. (Certainly vastly better than many “typical” multiplexes today.)
The non-sync music selection included the “Star Wars” main theme, which is fine, albeit so familiar that it seems rather a “generic” choice—-as if no-one has bothered with to select material specifically to the mood for the main feature?
Briefly: “Gemini Man” has not received a favourable response from critics; however, it was said to feature “ground-breaking” special FX.
I cannot say that it was a good film, and IMO—given the ubiquity of CGI in high budget productions—there was no special FX or visuals of any kind—of note. (If “ground-breaking” means the “younger” Will Smith—an all-CGI character—I found “him” to be a character that can emote and relatable as “human”—albeit not quite convincingly real.) “Life of Pi”—which was outstanding over in the old Empire 1—it is not.
This leaves the “high frame rate” as the “only” reason (other than visiting the OLS, of course) to see the film.
The film was shot and finished at 120 frames per second; however, 24fps or 60fps versions have been supplied to most venues.
I say “only” reason, but the likes of Douglas Trumbull (“2001: A Space Odyssey”) have been trying to establish higher frame rates for decades, as a means of enhancing storytelling—with scientific evidence showing that the audience’s emotional responses are heightened.
According to an article, only 14 theatres in the US will be supplied with the 120fps version; and, to quote, “Dolby notes that several Odeon theaters outfitted with Dolby 3D in the U.K. will also project 120 fps.”
Presumably, then, the OLS was supplied with the 120fps version (which is limited to 2K, and, it certainly looked like 2K—noticeable on e.g. blades of grass and the end credits.)
(A “CINITY” projection system (developed for Chinese company Huaxia Film) was installed at the Chinese Theater for the premiere—providing full 4K resolution at 120fps, as well as 28ftL brightness, using Christie dual laser projection. Too bad that the OLS is effectively already “obsolete” so soon after re-opening!)
Although HFR initially (after watching adverts and trailers at 24fps!) feels slightly odd, it is certainly a very large improvement over the old juddery/motion-blurred 24fps standard, almost like looking through a clear window into another world—with fast action scenes being far more intelligible.
Given just how bad the movie was, it felt emotionally intense—so it seems plausible that HFR is helping in this respect also.
With the 3D glasses off, the picture could be very bright, and illumination was decent with them on. I did, however, notice severe colour shift to the top left/right corners of the screen when not looking up (obviously this not being the usual position when making use of the reclining capability of the seating—talking of which, I ended up moving the seat slightly up from the fully back position, as I wanted to watch the movie rather than being so relaxed that I’d be at risk of taking a nap!) It goes without saying that, being shot natively in 3D, the this aspect of the movie was very high quality—and Dolby Cinema (or IMAX with Laser) is ideal to experience this compared to the polarised systems such as RealD.
The sound system seemed to be playing at around reference level and peaks certainly had “impact”—the film making full use of the available dynamic range to punctuate rather than being “wall-to-wall” loud—with the rear subwoofers being put to good use on occasion also.
HVAC made for a very comfortable auditorium, if perhaps slightly warmer than I’d have preferred; but there could be no doubt that you had left the (cold and damp, not to mention annoying “street performers” in LSQ!) “outside world” to escape into luxurious cinema wonder-land.
The “Dolby Cinema” trailer played before the main feature has now been localised with a British voice-over. I can’t be sure, but it felt truncated in length also.
The system was developed for Chinese company Huaxia Film, and uses Christie dual laser projection; it is capable of 4K 3D at 120 frames per second, with 28ftL peak screen illumination.
I assume that public screenings were IMAX with Laser?
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.
These are manufactured in the US by Tempo LLC.
These are manufactured in the US by Tempo LLC.
bigjoe59:
Shooting at higher than the target fps can result in better output, basically “temporal oversampling.”
At 24fps, it’s essential to have some motion blur on fast action, otherwise “strobing” is perceived.
For “Gemini Man,” RealD TrueMotion software was used for the down conversion to lower frame rates. It provides a “virtual shutter,” allowing for different options in post-production, even varying by regions within a frame.
American Cinematographer – “RealD’s TrueMotion for Multiple Frame Rate Options”.
There are some video demonstrations on the linked page, including one showing what it can do with the old “reversed wheel rotation” problem, blurring the spokes of the wheels whilst reducing blur that would otherwise have occurred on background objects.
moviebuff82: Have responded to your query on Cinema Treasures' Odeon Leicester Square page. Also commented on the HFR aspect of “Gemini Man,” which might be of interest to you.
moviebuff82:
I’d expect the projection system to be the same, albeit off the top of my head the projection system is adjusted to suit the location (e.g. the number of laser modules needed to achieve the target illumination levels on the screen.) That said, I would imagine that, like IMAX Digital, Dolby Cinema projection will quietly (or not so quietly?) go through revisions/iterations over time—e.g. the original IMAX Digital (Xenon) units were equipped with Christie projectors; later they switched to Barco.
As with any Dolby Cinema venue, the OLS obviously supports Dolby Atmos, and the sound system (Dolby SLS speakers and amplifiers) is as highly specified as it could be. I understand that AMC have been converting their “Prime”-branded PLF auditoria to Dolby Cinema locations, and I’d imagine this means fitting a new projection system (and screen) rather than a total overhaul—if this is of interest to you, then e.g. you could always look at the rear or overhead speakers to see what brand/model they are.
The OLS is, of course, a classic 1930’s “super-cinema” (as they were branded in the UK) and thus does not meet today’s “technical” standards for cinema design. The screen is not large enough for the auditorium size, and due to the split balcony/stalls there really is not an optimal seating position. Also, although significant acoustic treatment was added during the refurbishment, the cinema is still “echoic”—whilst much improved, this is still clearly audible on dialogue, although not so bad as to render dialogue unintelligible.
In a nutshell, it’s a world-famous cinema that has “ambience,” “heritage” and “sense of occasion” far beyond the average local multiplex that happens to have a high-end Dolby Cinema system, rather than a clean sheet new build designed from the ground up.
Also, keep in mind that as a location that regularly hosts premières and other special events, there is a greater chance of proper technical upkeep and recalibration to ensure everything is functioning as it should—not to mention, Dolby themselves are nearby in London’s Soho district…
Visited the OLS today to see an early evening performance of “Gemini Man,” being a “3D + HFR” (high frame rate) presentation. More on this aspect later in this post…
I shall cut to the “TL;DR” chase to report that on this occasion, the tabs were NOT in use. Indeed, with the stage end dimly lit (“Odeon Leicester Square Luxe Cinema” logo projected on the screen) their existence could well have gone unnoticed—taking a photo from my (front stalls) seating position required severe overexposure of the screen!
Fortunately, all other aspects were fine, with well programmed lighting. (Certainly vastly better than many “typical” multiplexes today.)
The non-sync music selection included the “Star Wars” main theme, which is fine, albeit so familiar that it seems rather a “generic” choice—-as if no-one has bothered with to select material specifically to the mood for the main feature?
Briefly: “Gemini Man” has not received a favourable response from critics; however, it was said to feature “ground-breaking” special FX. I cannot say that it was a good film, and IMO—given the ubiquity of CGI in high budget productions—there was no special FX or visuals of any kind—of note. (If “ground-breaking” means the “younger” Will Smith—an all-CGI character—I found “him” to be a character that can emote and relatable as “human”—albeit not quite convincingly real.) “Life of Pi”—which was outstanding over in the old Empire 1—it is not.
This leaves the “high frame rate” as the “only” reason (other than visiting the OLS, of course) to see the film. The film was shot and finished at 120 frames per second; however, 24fps or 60fps versions have been supplied to most venues.
I say “only” reason, but the likes of Douglas Trumbull (“2001: A Space Odyssey”) have been trying to establish higher frame rates for decades, as a means of enhancing storytelling—with scientific evidence showing that the audience’s emotional responses are heightened.
According to an article, only 14 theatres in the US will be supplied with the 120fps version; and, to quote, “Dolby notes that several Odeon theaters outfitted with Dolby 3D in the U.K. will also project 120 fps.”
Presumably, then, the OLS was supplied with the 120fps version (which is limited to 2K, and, it certainly looked like 2K—noticeable on e.g. blades of grass and the end credits.)
(A “CINITY” projection system (developed for Chinese company Huaxia Film) was installed at the Chinese Theater for the premiere—providing full 4K resolution at 120fps, as well as 28ftL brightness, using Christie dual laser projection. Too bad that the OLS is effectively already “obsolete” so soon after re-opening!)
Although HFR initially (after watching adverts and trailers at 24fps!) feels slightly odd, it is certainly a very large improvement over the old juddery/motion-blurred 24fps standard, almost like looking through a clear window into another world—with fast action scenes being far more intelligible.
Given just how bad the movie was, it felt emotionally intense—so it seems plausible that HFR is helping in this respect also.
With the 3D glasses off, the picture could be very bright, and illumination was decent with them on. I did, however, notice severe colour shift to the top left/right corners of the screen when not looking up (obviously this not being the usual position when making use of the reclining capability of the seating—talking of which, I ended up moving the seat slightly up from the fully back position, as I wanted to watch the movie rather than being so relaxed that I’d be at risk of taking a nap!) It goes without saying that, being shot natively in 3D, the this aspect of the movie was very high quality—and Dolby Cinema (or IMAX with Laser) is ideal to experience this compared to the polarised systems such as RealD.
The sound system seemed to be playing at around reference level and peaks certainly had “impact”—the film making full use of the available dynamic range to punctuate rather than being “wall-to-wall” loud—with the rear subwoofers being put to good use on occasion also.
HVAC made for a very comfortable auditorium, if perhaps slightly warmer than I’d have preferred; but there could be no doubt that you had left the (cold and damp, not to mention annoying “street performers” in LSQ!) “outside world” to escape into luxurious cinema wonder-land.
The “Dolby Cinema” trailer played before the main feature has now been localised with a British voice-over. I can’t be sure, but it felt truncated in length also.
“CINITY” projection system installed for the premiere of “Gemini Man” at the Chinese Theatre:
“GEMINI MAN Theatrical Premiere Will Utilize 4K 3D 120fps High Frame Rate Projection”.
The system was developed for Chinese company Huaxia Film, and uses Christie dual laser projection; it is capable of 4K 3D at 120 frames per second, with 28ftL peak screen illumination.
I assume that public screenings were IMAX with Laser?
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.