the auditorium looks as if theres nothing left to conserve.
The only decorative aspect I know of that remained in the auditorium is the plasterwork at the front of the lower circle, in the void between the bingo hall ceiling and the 1960’s auditoria.
According to the planning application “Design and Access Statement” (referenced as “DESIGN” in the previous post):
“Although much of the plaster decoration of the auditorium was lost in 1968, the steel structure that supported that decoration survives, as do important fragments of the decoration itself, such as the roof lantern.”
Overlaying Rank’s 1960’s drawings over the original, one sidewall of each of the two auditoria being in approximately the same location as the original. It’s not quite clear, but it appears that the rear wall position is partially in the same location, and its central section may suggest that alterations made could not have allowed for the original decoration to have survived.
However, the “Engineering Heritage” section of the “Design and Access Statement” (PDF p14) suggests that the structural aspects are of interest:
“With main roof trusses nearly 3m deep, spanning over 40m across a vast auditorium nearly 20m high, and a rear corner cantilevered out over the Bradford Beck, the ambition and skill of the engineers involved is impressive even by modern standards.
“The basic building has a robust structure of loadbearing brick, steel framing, an interesting and rare early precast plank flooring system, and timber roofs.”
The article includes renderings of the proposals, proposed ground floor plan, and photos inside the cinema building (partially stripped to the state required for the redevelopment.)
The planning application for the venue (approved):
Main planning application for the “Refurbishment and extension of former cinema to create an entertainment and event venue with supporting ancillary spaces including bars, ballroom and cabaret bar/restaurant and three-storey extension.”
A previous “CONSERVATION STATEMENT” (for a Lottery Funding application) notably informed by the Theatre’s Trust, 20th Century Society, Cinema Theatre Association, Cinema Theatre Organ Society, as well as the local authority and organisations has been used as a source for the document marked as “HERITAGE STATEMENT,” which in turn seems to have been largely incorporated into the document marked “DESIGN.”
The latter is therefore the most convenient “all-in-one” file to download; it includes extensive background information, alongside numerous photos of the cinema, including under construction, the original plans, the 1960’s conversion plans, and, of course, also covers the proposed scheme.
Having previously stated “there seems to be little reason to visit what is almost certainly a run-of-the-mill multiplex,” I recently found myself being “dragged” to see “Rocketman,” a film which greatly exceeded my (low!) expectations!
Incidentally, aside from a few shots which were intentionally degraded, the film’s picture is “pixel perfect”—no grain, sharp, but also berefit of digital artifacts, and it has been very consistently colour graded.
The film was screened in Auditorium 1, one of the two larger auditoria, being slightly smaller than Auditorium 2.
Measuring off the plans as submitted for the previously-linked planning application (scale conveniently provided):
Distance from screen to first row: 6.32m (~20.5ft.)
Distance from screen to first VIP row: 12.9m (~42.5ft.)
Distance from screen to last row: 20.1m (~66ft.)
Thus, the screen width to distance from screen ratio varies from ~0.5 to ~1.6, with the first VIP row just slightly >1. Thus, the first VIP row is just about within IMAX-style “immersive” criteria in terms of the distance from the screen—and the centre of that row is where I was seated.
Being also well positioned vertically in relation to the screen, it provided a very comfortable viewing experience.
The stadia is steeply raked and the auditorium feels suprisingly spacious, with a high ceiling of suspended rectangular black tiles. The black stretched fabric wall covering is slightly “textured,” only visible on close inspection; it might be imagined that this is intended to break up reflections from the sidewalls to enhance contrast further (albeit rather futile given the projection and floating screen, as will be covered later in this post.)
The VIP seats are upholstered in black leather (or possibly very good immitation leather?)—they look identical to the “standard” seats at the Vue West End, but with red upholstered headrests—extremely well-padded and comfortable, with “rocker” action. Leg room was good though not super-generous.
Standard seating is upholstered in velour, thus having an acoustic benefit over hard surfaced seats; however, whilst I did not try this seating, it looks “economy class,” out of an earlier generation multiplex, and I am surprised to find them fitted in a new cinema. However, given a relatively empty auditorium (i.e. without the acoustically positive effect of seated patrons*) sitting in the VIP seats in a relatively empty auditorium means that one gets comfortable seating with non-porous upholstry AND the acoustic benefits of “porous” uholstry.
(*That is, until they ruin the background level with popcorn munching and other distractions!)
The auditorium’s temperature was perfectly maintained throughout, and never stuffy with off-scents (in one particular instance, ahem, presumably generated by the person seated in the row behind) rapidly removed suggesting a good air change rate; however, in quiet scenes, there was an annoying slightly hollow sound from the rear of the auditorium, which I thought may have been turbulence at a duct bend.
On having a brief look around the auditorium before leaving, I suspect this was actually emanating from the ceiling “projection box” (boothless!) and the HVAC system itself was quiet. Either way, there was definitely an irritating sound from the projection box, and I can’t imagine this being acceptable to anyone sitting nearby—and the last row is the only option for “accessible” spaces, with the centre positions directly underneath the “projection box.”
As mentioned in a previous post, the complex was built with very thick concrete floors, and certainly no sounds could be heard from “adjacent” auditoria (4-6 being positioned above.)
Unfortunately, whilst the two doors from the lobby to the auditorium are tightly fitted, the closing mechanisms do not appear to be effective. Whilst in the case of Auditorium 1 this is somewhat nit-picking, being on its own level, walking along the corridor/lobby at the next level past Auditoria 2/3, sound could clearly be heard in the corridor, the doors again presumably not automatically closing tight, with the possibility of leakage or inadequate isolation between auditoria.
The screen, alas, is a floating-type of “flat” ratio, and flat rather than curved.
Picture quality was good, well-aligned, with decent centre-to-edge brightness and colour, albeit with what appeared to be some clipping and a definite black crush removing low-level detail.
As usual for the Sony S-XRD projectors, but perhaps more than I have noticed elsewhere, the black level was very poor and this was particularly problematic watching a scope release on an unmasked flat ratio screen.
The rear array speakers (7.1 audio) are by JBL; a shame that Atmos was omitted, as the auditorium certainly has proportionate height and space to allow for it.
The sound quality was very good, with what seemed to be reference level playback (LOUD!), albeit the feature presumably did not call for the highest levels. Calibration appeared to be excellent, with clear and uncoloured sound (my own preference would be a tad brighter), and excellent timbre-matching from front to rear, well demonstrated in Vue’s own trailer. (The rear array tended to provide ambience/reverb in the film itself.)
Subbass was extended and could certainly shake the stadia/seating.
The auditorium’s reverbation time was excellent, and there did not appear to be any problem with lateral reflections from the near wall-to-wall screen and straight side walls.
Far better than expected—and good to see Vue specifying JBL—not the cheapest option!
On entering the auditorium—with the programme already started—the house lights were still fully raised. At the start of the main feature, they turned off… sort of! In fact they turned off, then briefly turned back on, and off again. They then simply came back on during the end credits. Sigh…
Overall, then, given VIP seating, in so many respects this is almost a first class medium-sized auditorium, which could be a fine choice for small-to-medium scale movies. Certainly the considerable effort of cramming a “concrete tank” of a building carefully designed to make the most of a difficult and tight site has paid off.
It really is a shame that, above all given the lavish amount of money spent on enabling works and the building’s shell, that the end result is marred by Vue’s standard Sony S-XRD/Xenon projection—mostly very good but just can’t cut it for black levels—and the absence of masking on a flat screen; not to mention the dire programming of the house lights, and the uncontained sound of the projection box. Reasons enough for me not to return by choice, although I wouldn’t be unhappy accompanying others there.
To follow (potentially): Photos and overview of the other public access areas of the cinema.
Comparing the linked image to photos of the auditorium with the new tabs fitted, it seems quite clear that there is indeed room for them.
Slightly moving the screen forward/backwards to allow for “blockbusters” (?!) makes no sense as it would make very little difference indeed to the field of view filled by the screen; I might suggest on the order of moving seat to the next row back.
FanaticalAboutOdeon: Looking at the CTA trip video as it pans around the auditorium (direct link to time in video), the lighting for the new curtains appears to be positioned in the rear corners at booth level.
Good to hear that your trip this month will not be the last to your favourite cinema!
I wonder if there are any on site technical staff at the OLS; or, like other sites, reliant solely on an “itinerant” area team, and Odeon’s Network Operations Centre.
(Not sure if Dolby have their own NOS for Dolby Cinema, as IMAX do for IMAX Digital sites.)
The article covering the Odeon Orpington in the September 2016 issue of Cinema Technology has a good overview of today’s practices under the “TECHNICAL MANAGEMENT” section.
Presumably, then, tab floodlights on/off and tab opening/closing could simply be triggered at the same time.
It isn’t quite clear from the CTA trip video whether the installation allows for the tab floodlights to be dimmed.
One of the problems with LED installations (depending on factors such as the controllers used) is dissatifactory fades with “stepping” (rather than smooth “continuous” action) and particularly the issue of simply switching from dim to off. The latter can be clearly seen in the video with the splay wall concealed lights (“behind” the flying ladies)—albeit (relatively) it isn’t too bad.
To my mind, the correct sequencing would be to fade the splay wall concealed lights, then start fading the tab floodlights as the tabs open, timed so that they are out as the tabs reach the edge of the lit area, say about 75% open.
Terry:
The ‘bellowing’ I refer to is when the tabs would ‘waft’ forward of the footlights (at about a 105 – 110 degree angle) which did not look very professional.
Thank you for the explanation. I don’t think I’ve ever seen that!
Video of the main OLS auditorium from CTA visit (on 01/06/2019) including the new curtains, “Duchess” recital, Dolby Atmos trailer, Dolby Cinema trailer, and the “digital” safety curtain.
I am slightly bemused, however, about the requirement for the faster opening and closing of the tabs. Fifteen seconds was considered about right for a 40 – 50 feet proscenium width, any faster (especially with the plenum in use) being likely to result in the ‘bellowing effect’.
Do you mean the curtains “oscillating” around once their run has finished, as can be seen in a video of the old Empire 1? (Direct link to time in video.) If I’m not mistaken, the timing there was under 15 seconds—and a greater distance to travel!
As for “nit-picking”—IMO this is precisely the sort of information that adds tremendous value to Cinema Treasures. ;–)
martinC: Agree with your comment on “Rocketman”—I was “dragged along” to reluctantly see it (alas not at the OLS!)—far better than expected and a first class performance by Taron Egerton.
A shame to hear about your experiences of trying to acquire organ performance times.
Surely this needs liaising with the projectionist?
Excepting those occasions when the retained Victoria 8 is brought back into action for 35/70mm screenings, I very much doubt there is one in the building…
In addition, the first 5 minutes of the Odeon info on screen and the ads were completely without any sound! So we all sat there in silence.
…QED(?)
In case it would be of interest to anyone reading this, there will be a “Wurlitzer 90th Birthday” gala concert at the Musical Museum in West London this Sunday… as a venue nowhere near on the same level the OLS, but its organ is certainly mightily impressive!
Goodness—that was unexpected! I, too, extend my gratitude to Ian for reporting on this and the wonderful photos.
Whilst the alterations aren’t “perfect” (e.g. replacement sidewalls/ceiling with straight sections of stretched fabric) the new curtains certainly provide a much needed finishing touch in restoring the OLS back to “super cinema” status, bringing back ambience, warmth; and, dare I say it in these “postmodern” times, an element of the “fourth wall.”
Kudos to Odeon—even if they should have been there from “day one!”
On opening, this theatre was the subject of an article in Marquee, titled “Philadelphia’s First Post-War First-Run Theatre Features a New Idea in Acoustic Technique – THE GOLDMAN THEATRE.”
Alas, the link is to a Google Books entry providing a “Snippet View” only; however, I am able to view the following text:
“The effects are obtained by applying to the walls 1,190 panels fabricated from convex wood-and-metal squares, 3 feet on a side…”
Addendum: Ironically, the application for the “advertising” aspect has been approved.
(“Display of two internally illuminated fascia signs measuring 1.00m x 6.25m and 2.49m x 1.15m, a non-illuminated projecting sign measuring 0.60m x 0.60m and retractable awning.”)
Thus, Cineworld may now, for instance, add an awning advertising non-existent “Hotdogs, Jacket Potatoes, Nachos, Hot & Cold Drinks.”
Correction to the CT Overview: The “Sky Bar” is not yet open (licence application pending) and forms a separately demised premises to the cinema; its entrance is on the right side of the main frontage.
It has been let to a local operator (they also run a nearby Turkish restaurant, “Rixos.”)
Westminster Council have refused permission (22nd May 2019) for the food kiosk, on the basis that customers queuing outside would block pedestrian traffic, and as all customers would be served off the premises, it would result in negative environmental/amenity effects (“late night activity, noise and smells.”) Obviously, Cineworld have the opportunity to appeal this decision.
Having been puzzled how this multiplex was somehow inserted into a 1960s shopping centre*, a quick look on Google Maps revealed the answer—it was built above the multi-storey car park at to the rear!
(*1967 according to its Wikipedia page—rather than 1971 per the CT description—although I haven’t a clue which is correct.)
This is more obvious in Streetview photos, where added structure can be clearly seen.
One such scheme dated back to 1993, given a (refused!) planning application dated 27/05/1993. The plans are not available on Hammersmith and Fulham’s online planning records, so whether this was for a cinema is anyone’s guess; however, the development as built appears to date from 1997.
Main planning application—“Erection of a multiplex (12 screen) cinema building above the existing first floor open deck roof-top car park…”
Wonder if this makes it a “unique” building housing a cinema—one might imagine similar somewhere in, say, the Far East—but at least in the UK?
Auditorium 1 is entered at ground level, extending down into basement level at the screen end.
Chapman Taylor was the architect for the shell only.
I should add that my comments on the “chaos” in the ground floor foyer relate to this occasion, a couple of days after opening, only; presumably, operations will be “tuned up” ASAP.
There is an earlier planning application from 2014, but this is at best of academic interest (!) only; the above-linked 2015 application is substantially different, including a change of architect.
The cost of this development (excluding fit-outs by operators) ended up being £20.8m—increasing from the original figure of £14m.
This seems to be an astonishing figure, and should this raise eyebrows over its perceived commerical viablity, it is notable that the developer is the local authority (Royal Borough of Greenwich)—their aim being to provide a catalyst for regeneration.
Built on a very tight site formerly occupied by what was for many years a Co-op department store (latterly a pound shop), according to a Greenwich Council committee report, high levels of ground water, shortage of building labour in London, and cinema operator requirements resulted in the revised project cost, c.f. the original £14m.
The report also states that the cinema is on a 25 year lease.
I visited the site just before handover for the fit-out—primary partition walls (auditoria, restaurants) were constructed but not those for toilets etc.; lifts were installed (albeit not yet commissioned), etc. The main contractor for this phase was Willmott Dixon.
Hence, mostly what could be seen was acres of “Soundbloc” plasterboard, except for underneath the stadia, which was fire rated plasterboard.
The cinema, save for the ground floor entrance/foyer, is on an upper level, on a concrete slab varying between 500mm and 1m (!) in depth, supported by a steel frame, as required for isolation (restaurant units below) plus carrying high loads.
The stadia are isolated on neoprene pads, with pads in the auditorium demising walls also. The stadia were complete with plywood steps/risers.
Incidentally, with the building in a “stripped” state, one can really see just how thick the walls are. (Presumably double walls with mineral wool in the voids.)
Soundproofing of some auditoria was due to be tested later on the day of the visit; and apparently, rain testing of the roof deck resulted in failure by 1 or 2dB!
The site manager said that they would rather have worked on the fit-out, as not only were they liasing with Greenwich Council and tenants, but the fit-out contractors (Swindon Interiors for the Vue)—apparently a nightmare in terms of such details as drain positioning!
Vue, apparently, are a demanding client, with very high standards; albeit the site manager did state that it was the first cinema that they had worked on.
Otherwise, there seems to be little reason to visit what is almost certainly a run-of-the-mill miniplex of modest sized auditoria. (“VIP” seating is included in the middle rows of the auditoria, but not recliners.)
I did, however, have a brief look last weekend (the cinema opening last Thursday) at the ground floor main foyer, which seemed to be chaotic; there did not seem to be any performance information whatsoever, with no self-service machines visible. One might expect customers to book online, but the long queues at the concessions counter suggested otherwise.
The foyer’s floor was strewn with popcorn, and, I don’t recall any background music playing (JBL speakers.)
Otherwise, it is a perfectly attractive foyer (although being used to, above all, West End venues, basic) and includes a small seating area with green velour upholstered chairs (alas, with a view out of the window of the distinctly unglamourous High Street!)
Demolition, sub-structure and basement works: Erith Contractors
(Source: Above-linked Greenwich Council report.)
Work: “Shell and core of new cinema and restaurants”
Architect: Chapman Taylor
Structural Engineer: AECOM
Photos of exterior under construction, interior prior to fit-out, and of foyer post-opening to follow.
Corrections to the description:
The foyer includes 2x self-service Coca-Cola Freestyle and 2x self-service Tango Ice Blast machines.
It is the first cinema in the town centre since the ABC closed in 1972; however, the Coronet (Odeon) Well Hall was only ~1km away, also only 500m from Eltham Station.
joeswin: If memory serves correctly, the first generation of “modern” (i.e. post mid-80s) multiplexes tended to include curtains. It wasn’t until the next generation designs—second half of the 90s—featuring stadium stepped seating, with only moderately angled front splay walls, that they were dispensed with—e.g. typical example of Warner Bros. International Theatres* house style. Of course, these “evolved” to today’s standard “black box” auditoria with wall-to-wall screens.
(*The same house style was used in Warner cinemas outside of the partnership between Warner Bros. International Theatres and Village Roadshow; Warner Mycal in Japan, for instance.)
Zappomatic: Indeed, and I bought ice cream from there myself from the kiosk in the linked image! However, the unit’s current use class remains the one in place for the Bureau de Change that previously operated there, so Cineworld still need permission for the change of use to allow the operation of a takeaway.
Cineworld have submitted planning applications for changes to the frontage and a new takeaway counter in the old “Ritz”/“Empire 2” entrance in 1-4 Leicester Square. (I suppose strictly this should go under its separate page on CT, but to my mind it reads as part of the cinema as a whole?)
The main “FULL” application is dated as received 8th February 2019, with the (sloppily written!) “Design and Access Statement” summarising the scheme, including a rendering on p7; Chapman Taylor is the project architect.
In summary, the proposal is for a “HUNGER GAMES” (Cineworld’s own brand) “kiosk,” removal of the existing brown granite to be replaced with black metal cladding, and the installation of a 6.55x1m LED display module screen above (to display static images only.)
A good idea to bring that section of the frontage back into use, but it looks quite tacky, albeit the rendering is of poor quality—and must Cineworld dispose of yet more high quality finishing materials?
It wouldn’t surprise me to see that the LED screen aspect will go to appeal.
Some further information on Cineworld’s 2018 foyer/lobbies refurbishment and 4DX conversion of the former Screen 2 is available in an article on the website of AV Magazine, dated 22nd March 2019.
The relevant sections of the article are:
Foyer/lobbies: Under the heading “Making a grand entrance.”
4DX: A few paragraphs under the sub-heading: “Four types of 4DX.”
At the screen end of the auditorium, the floor was lowered by 1 metre, the foundations reinforced to carry the load imposed by the 4DX seating.
Companies involved with the project: “Maeve Contractors, GF Holding, PHG Consulting, Eton, Clarkebond, Chapman Taylor, AJR Electrical and Wilden.”
4DX seating comes in units of 4 seats, which cannot be dismantled; they had to be brought down “three flights of stairs with minimum space for manoeuvrability.”
Some further information on Cineworld’s 2018 foyer/lobbies refurbishment and 4DX conversion of the former Screen 2 is available in an article on the website of AV Magazine, dated 22nd March 2019.
The relevant sections of the article are:
Foyer/lobbies: Under the heading “Making a grand entrance.”
4DX: A few paragraphs under the sub-heading: “Four types of 4DX.”
As suspected from the branded protective sheeting in Zappomatic’s photos of the foyer/lobbies refurbishment, Maeve Contractors—principal contractor for the conversion of the former Screen 1 to IMAX/Superscreen—are confirmed to have been also involved in this project.
LED modules used are from Chinese company Konka Media, with Cineworld Group having previously worked with the them in Prague.
Standard DVI/HDMI input to the module controllers supplied by Konka.
For the signature installation on the vestibule stairs up from the main Leicester Square entrance—risers being a non-standard installation location—the modules are installed in a “safety unit” for protection from patrons, with the requirements of building regulations in mind. The installation also allows maintenance access to the modules from the front.
Total modules used for the stairs—65; number of stair risers: 14; total size: 4.8mx2.2m; resolution 960x416 pixels.
Progress on the extension work is covered in an article on the website of AV Magazine, including photos. The fit-out started in December 2018.
Some key points from the article:
Following the completion of the extension, the total floor area of the Cineworld O2 will be 134,000sq.ft.—the biggest cinema in London.
Interior is said to be designed by Chris Tyrell (Architect), also responsible for some other Cineworld locations.
Fit-out was project managed by principal contractor Ereconomic, “working alongside an internal construction team,” working to a tight schedule for opening at the end of April 2019.
The extension’s new auditoria will have 1400 seats across 8 auditoria.
One of the auditoria will be equipped with 4DX. Hence, both of CJ4DPLEX’s theatrical systems (ScreenX and 4DX) will be available at the Cineworld O2.
3x60 seat VIP auditoriums with “lazy boy-style, leather electronic reclining seats, all you can eat buffet and unlimited soft drinks and snacks.” (Fellow patrons munching away yields a “VIP” moviegoing experience?! :–( How about auditoria with NO food consumption allowed?)
All auditoria will be equipped with 2K Barco laser projectors (it states Barco P2K-23BLP in the 4DX and VIP auditoria.)
A hole in the roof of the O2 had to be made for loading purposes.
The article includes some puzzling statements, particularly the claim that the O2’s Superscreen is the largest screen in the UK (excluding the BFI IMAX)—Cineworld themselves operate venues with auditoria fitted with larger screens!
A comprehensive video tour of the cinema is available on YouTube, upload dated October 2018. Despite having been closed for almost 15 years, at the time of shooting, it was in a largely intact condition, with only a “soft” strip of fittings; wall finishes, carpets and suspended ceilings are still intact.
Not the grandest of venues, but a rare opportunity to see an “urban exploration” (permission for the tour was granted by Hope Church) of a cinema closed for many years that hasn’t been trashed by vandals, pigeons or water.
madorganplayer:
The only decorative aspect I know of that remained in the auditorium is the plasterwork at the front of the lower circle, in the void between the bingo hall ceiling and the 1960’s auditoria.
It (and the original steppings behind!) can be seen in a video uploaded with the title “Bradford Odeon Stripping Out ~ Autumn 2014”
According to the planning application “Design and Access Statement” (referenced as “DESIGN” in the previous post):
“Although much of the plaster decoration of the auditorium was lost in 1968, the steel structure that supported that decoration survives, as do important fragments of the decoration itself, such as the roof lantern.”
Overlaying Rank’s 1960’s drawings over the original, one sidewall of each of the two auditoria being in approximately the same location as the original. It’s not quite clear, but it appears that the rear wall position is partially in the same location, and its central section may suggest that alterations made could not have allowed for the original decoration to have survived.
However, the “Engineering Heritage” section of the “Design and Access Statement” (PDF p14) suggests that the structural aspects are of interest:
“With main roof trusses nearly 3m deep, spanning over 40m across a vast auditorium nearly 20m high, and a rear corner cantilevered out over the Bradford Beck, the ambition and skill of the engineers involved is impressive even by modern standards.
“The basic building has a robust structure of loadbearing brick, steel framing, an interesting and rare early precast plank flooring system, and timber roofs.”
Telegraph and Argus — May 2019 — “Inside Bradford’s Odeon as work continues ahead of Bradford Live music venue conversion”.
According to the article, further strip out works are underway, with the 1960s conversion floors/walls/added structural elements being removed.
At the time of publication, in particular:
The article also states that the licensing application has been approved.
Architects' Journal — 10/12/2018 — “Aedas reveals £20m plans for Bradford Odeon rebirth”.
The article includes renderings of the proposals, proposed ground floor plan, and photos inside the cinema building (partially stripped to the state required for the redevelopment.)
The planning application for the venue (approved):
Main planning application for the “Refurbishment and extension of former cinema to create an entertainment and event venue with supporting ancillary spaces including bars, ballroom and cabaret bar/restaurant and three-storey extension.”
A previous “CONSERVATION STATEMENT” (for a Lottery Funding application) notably informed by the Theatre’s Trust, 20th Century Society, Cinema Theatre Association, Cinema Theatre Organ Society, as well as the local authority and organisations has been used as a source for the document marked as “HERITAGE STATEMENT,” which in turn seems to have been largely incorporated into the document marked “DESIGN.”
The latter is therefore the most convenient “all-in-one” file to download; it includes extensive background information, alongside numerous photos of the cinema, including under construction, the original plans, the 1960’s conversion plans, and, of course, also covers the proposed scheme.
Having previously stated “there seems to be little reason to visit what is almost certainly a run-of-the-mill multiplex,” I recently found myself being “dragged” to see “Rocketman,” a film which greatly exceeded my (low!) expectations!
Incidentally, aside from a few shots which were intentionally degraded, the film’s picture is “pixel perfect”—no grain, sharp, but also berefit of digital artifacts, and it has been very consistently colour graded.
The film was screened in Auditorium 1, one of the two larger auditoria, being slightly smaller than Auditorium 2.
Measuring off the plans as submitted for the previously-linked planning application (scale conveniently provided):
Auditorium depth/width (wall to wall): 21.6x13.2m (~71x43.5ft.) Auditorium floor area: 285sq.m. (~3050sq.ft.) Screen width: 12.3m (~40.5ft.)
Distance from screen to first row: 6.32m (~20.5ft.) Distance from screen to first VIP row: 12.9m (~42.5ft.) Distance from screen to last row: 20.1m (~66ft.)
Thus, the screen width to distance from screen ratio varies from ~0.5 to ~1.6, with the first VIP row just slightly >1. Thus, the first VIP row is just about within IMAX-style “immersive” criteria in terms of the distance from the screen—and the centre of that row is where I was seated.
Being also well positioned vertically in relation to the screen, it provided a very comfortable viewing experience.
The stadia is steeply raked and the auditorium feels suprisingly spacious, with a high ceiling of suspended rectangular black tiles. The black stretched fabric wall covering is slightly “textured,” only visible on close inspection; it might be imagined that this is intended to break up reflections from the sidewalls to enhance contrast further (albeit rather futile given the projection and floating screen, as will be covered later in this post.)
The VIP seats are upholstered in black leather (or possibly very good immitation leather?)—they look identical to the “standard” seats at the Vue West End, but with red upholstered headrests—extremely well-padded and comfortable, with “rocker” action. Leg room was good though not super-generous.
Standard seating is upholstered in velour, thus having an acoustic benefit over hard surfaced seats; however, whilst I did not try this seating, it looks “economy class,” out of an earlier generation multiplex, and I am surprised to find them fitted in a new cinema. However, given a relatively empty auditorium (i.e. without the acoustically positive effect of seated patrons*) sitting in the VIP seats in a relatively empty auditorium means that one gets comfortable seating with non-porous upholstry AND the acoustic benefits of “porous” uholstry.
(*That is, until they ruin the background level with popcorn munching and other distractions!)
The auditorium’s temperature was perfectly maintained throughout, and never stuffy with off-scents (in one particular instance, ahem, presumably generated by the person seated in the row behind) rapidly removed suggesting a good air change rate; however, in quiet scenes, there was an annoying slightly hollow sound from the rear of the auditorium, which I thought may have been turbulence at a duct bend.
On having a brief look around the auditorium before leaving, I suspect this was actually emanating from the ceiling “projection box” (boothless!) and the HVAC system itself was quiet. Either way, there was definitely an irritating sound from the projection box, and I can’t imagine this being acceptable to anyone sitting nearby—and the last row is the only option for “accessible” spaces, with the centre positions directly underneath the “projection box.”
As mentioned in a previous post, the complex was built with very thick concrete floors, and certainly no sounds could be heard from “adjacent” auditoria (4-6 being positioned above.)
Unfortunately, whilst the two doors from the lobby to the auditorium are tightly fitted, the closing mechanisms do not appear to be effective. Whilst in the case of Auditorium 1 this is somewhat nit-picking, being on its own level, walking along the corridor/lobby at the next level past Auditoria 2/3, sound could clearly be heard in the corridor, the doors again presumably not automatically closing tight, with the possibility of leakage or inadequate isolation between auditoria.
The screen, alas, is a floating-type of “flat” ratio, and flat rather than curved.
Picture quality was good, well-aligned, with decent centre-to-edge brightness and colour, albeit with what appeared to be some clipping and a definite black crush removing low-level detail.
As usual for the Sony S-XRD projectors, but perhaps more than I have noticed elsewhere, the black level was very poor and this was particularly problematic watching a scope release on an unmasked flat ratio screen.
The rear array speakers (7.1 audio) are by JBL; a shame that Atmos was omitted, as the auditorium certainly has proportionate height and space to allow for it.
The sound quality was very good, with what seemed to be reference level playback (LOUD!), albeit the feature presumably did not call for the highest levels. Calibration appeared to be excellent, with clear and uncoloured sound (my own preference would be a tad brighter), and excellent timbre-matching from front to rear, well demonstrated in Vue’s own trailer. (The rear array tended to provide ambience/reverb in the film itself.)
Subbass was extended and could certainly shake the stadia/seating.
The auditorium’s reverbation time was excellent, and there did not appear to be any problem with lateral reflections from the near wall-to-wall screen and straight side walls.
Far better than expected—and good to see Vue specifying JBL—not the cheapest option!
On entering the auditorium—with the programme already started—the house lights were still fully raised. At the start of the main feature, they turned off… sort of! In fact they turned off, then briefly turned back on, and off again. They then simply came back on during the end credits. Sigh…
Overall, then, given VIP seating, in so many respects this is almost a first class medium-sized auditorium, which could be a fine choice for small-to-medium scale movies. Certainly the considerable effort of cramming a “concrete tank” of a building carefully designed to make the most of a difficult and tight site has paid off.
It really is a shame that, above all given the lavish amount of money spent on enabling works and the building’s shell, that the end result is marred by Vue’s standard Sony S-XRD/Xenon projection—mostly very good but just can’t cut it for black levels—and the absence of masking on a flat screen; not to mention the dire programming of the house lights, and the uncontained sound of the projection box. Reasons enough for me not to return by choice, although I wouldn’t be unhappy accompanying others there.
To follow (potentially): Photos and overview of the other public access areas of the cinema.
Regarding the screen position/tabs use—hard to tell from the CTA visit video, but it doesn’t look different to pre-tabs photos of the post-2018 refurbishment stage end—i.e. nearer the proscenium opening than previous.
Comparing the linked image to photos of the auditorium with the new tabs fitted, it seems quite clear that there is indeed room for them.
Slightly moving the screen forward/backwards to allow for “blockbusters” (?!) makes no sense as it would make very little difference indeed to the field of view filled by the screen; I might suggest on the order of moving seat to the next row back.
FanaticalAboutOdeon: Looking at the CTA trip video as it pans around the auditorium (direct link to time in video), the lighting for the new curtains appears to be positioned in the rear corners at booth level.
Good to hear that your trip this month will not be the last to your favourite cinema!
I wonder if there are any on site technical staff at the OLS; or, like other sites, reliant solely on an “itinerant” area team, and Odeon’s Network Operations Centre.
(Not sure if Dolby have their own NOS for Dolby Cinema, as IMAX do for IMAX Digital sites.)
The article covering the Odeon Orpington in the September 2016 issue of Cinema Technology has a good overview of today’s practices under the “TECHNICAL MANAGEMENT” section.
(Conveniently, it is available as a stand-alone PDF file.)
Presumably, then, tab floodlights on/off and tab opening/closing could simply be triggered at the same time.
It isn’t quite clear from the CTA trip video whether the installation allows for the tab floodlights to be dimmed.
One of the problems with LED installations (depending on factors such as the controllers used) is dissatifactory fades with “stepping” (rather than smooth “continuous” action) and particularly the issue of simply switching from dim to off. The latter can be clearly seen in the video with the splay wall concealed lights (“behind” the flying ladies)—albeit (relatively) it isn’t too bad.
To my mind, the correct sequencing would be to fade the splay wall concealed lights, then start fading the tab floodlights as the tabs open, timed so that they are out as the tabs reach the edge of the lit area, say about 75% open.
Terry:
Thank you for the explanation. I don’t think I’ve ever seen that!
Video of the main OLS auditorium from CTA visit (on 01/06/2019) including the new curtains, “Duchess” recital, Dolby Atmos trailer, Dolby Cinema trailer, and the “digital” safety curtain.
The tabs take ~25 seconds to open. Slow!
terry:
Do you mean the curtains “oscillating” around once their run has finished, as can be seen in a video of the old Empire 1? (Direct link to time in video.) If I’m not mistaken, the timing there was under 15 seconds—and a greater distance to travel!
As for “nit-picking”—IMO this is precisely the sort of information that adds tremendous value to Cinema Treasures. ;–)
martinC: Agree with your comment on “Rocketman”—I was “dragged along” to reluctantly see it (alas not at the OLS!)—far better than expected and a first class performance by Taron Egerton.
A shame to hear about your experiences of trying to acquire organ performance times.
Excepting those occasions when the retained Victoria 8 is brought back into action for 35/70mm screenings, I very much doubt there is one in the building…
…QED(?)
In case it would be of interest to anyone reading this, there will be a “Wurlitzer 90th Birthday” gala concert at the Musical Museum in West London this Sunday… as a venue nowhere near on the same level the OLS, but its organ is certainly mightily impressive!
Goodness—that was unexpected! I, too, extend my gratitude to Ian for reporting on this and the wonderful photos.
Whilst the alterations aren’t “perfect” (e.g. replacement sidewalls/ceiling with straight sections of stretched fabric) the new curtains certainly provide a much needed finishing touch in restoring the OLS back to “super cinema” status, bringing back ambience, warmth; and, dare I say it in these “postmodern” times, an element of the “fourth wall.”
Kudos to Odeon—even if they should have been there from “day one!”
On opening, this theatre was the subject of an article in Marquee, titled “Philadelphia’s First Post-War First-Run Theatre Features a New Idea in Acoustic Technique – THE GOLDMAN THEATRE.”
Alas, the link is to a Google Books entry providing a “Snippet View” only; however, I am able to view the following text:
“The effects are obtained by applying to the walls 1,190 panels fabricated from convex wood-and-metal squares, 3 feet on a side…”
Addendum: Ironically, the application for the “advertising” aspect has been approved.
(“Display of two internally illuminated fascia signs measuring 1.00m x 6.25m and 2.49m x 1.15m, a non-illuminated projecting sign measuring 0.60m x 0.60m and retractable awning.”)
Thus, Cineworld may now, for instance, add an awning advertising non-existent “Hotdogs, Jacket Potatoes, Nachos, Hot & Cold Drinks.”
Correction to the CT Overview: The “Sky Bar” is not yet open (licence application pending) and forms a separately demised premises to the cinema; its entrance is on the right side of the main frontage.
It has been let to a local operator (they also run a nearby Turkish restaurant, “Rixos.”)
Westminster Council have refused permission (22nd May 2019) for the food kiosk, on the basis that customers queuing outside would block pedestrian traffic, and as all customers would be served off the premises, it would result in negative environmental/amenity effects (“late night activity, noise and smells.”) Obviously, Cineworld have the opportunity to appeal this decision.
Having been puzzled how this multiplex was somehow inserted into a 1960s shopping centre*, a quick look on Google Maps revealed the answer—it was built above the multi-storey car park at to the rear!
(*1967 according to its Wikipedia page—rather than 1971 per the CT description—although I haven’t a clue which is correct.)
This is more obvious in Streetview photos, where added structure can be clearly seen.
One such scheme dated back to 1993, given a (refused!) planning application dated 27/05/1993. The plans are not available on Hammersmith and Fulham’s online planning records, so whether this was for a cinema is anyone’s guess; however, the development as built appears to date from 1997.
Main planning application—“Erection of a multiplex (12 screen) cinema building above the existing first floor open deck roof-top car park…”
Wonder if this makes it a “unique” building housing a cinema—one might imagine similar somewhere in, say, the Far East—but at least in the UK?
Corrections:
Addendum:
There is an earlier planning application from 2014, but this is at best of academic interest (!) only; the above-linked 2015 application is substantially different, including a change of architect.
The cost of this development (excluding fit-outs by operators) ended up being £20.8m—increasing from the original figure of £14m.
This seems to be an astonishing figure, and should this raise eyebrows over its perceived commerical viablity, it is notable that the developer is the local authority (Royal Borough of Greenwich)—their aim being to provide a catalyst for regeneration.
Built on a very tight site formerly occupied by what was for many years a Co-op department store (latterly a pound shop), according to a Greenwich Council committee report, high levels of ground water, shortage of building labour in London, and cinema operator requirements resulted in the revised project cost, c.f. the original £14m.
The report also states that the cinema is on a 25 year lease.
I visited the site just before handover for the fit-out—primary partition walls (auditoria, restaurants) were constructed but not those for toilets etc.; lifts were installed (albeit not yet commissioned), etc. The main contractor for this phase was Willmott Dixon.
Hence, mostly what could be seen was acres of “Soundbloc” plasterboard, except for underneath the stadia, which was fire rated plasterboard.
The cinema, save for the ground floor entrance/foyer, is on an upper level, on a concrete slab varying between 500mm and 1m (!) in depth, supported by a steel frame, as required for isolation (restaurant units below) plus carrying high loads.
The stadia are isolated on neoprene pads, with pads in the auditorium demising walls also. The stadia were complete with plywood steps/risers.
Incidentally, with the building in a “stripped” state, one can really see just how thick the walls are. (Presumably double walls with mineral wool in the voids.)
Soundproofing of some auditoria was due to be tested later on the day of the visit; and apparently, rain testing of the roof deck resulted in failure by 1 or 2dB!
The site manager said that they would rather have worked on the fit-out, as not only were they liasing with Greenwich Council and tenants, but the fit-out contractors (Swindon Interiors for the Vue)—apparently a nightmare in terms of such details as drain positioning!
Vue, apparently, are a demanding client, with very high standards; albeit the site manager did state that it was the first cinema that they had worked on.
Otherwise, there seems to be little reason to visit what is almost certainly a run-of-the-mill miniplex of modest sized auditoria. (“VIP” seating is included in the middle rows of the auditoria, but not recliners.)
I did, however, have a brief look last weekend (the cinema opening last Thursday) at the ground floor main foyer, which seemed to be chaotic; there did not seem to be any performance information whatsoever, with no self-service machines visible. One might expect customers to book online, but the long queues at the concessions counter suggested otherwise.
The foyer’s floor was strewn with popcorn, and, I don’t recall any background music playing (JBL speakers.)
Otherwise, it is a perfectly attractive foyer (although being used to, above all, West End venues, basic) and includes a small seating area with green velour upholstered chairs (alas, with a view out of the window of the distinctly unglamourous High Street!)
Demolition, sub-structure and basement works: Erith Contractors (Source: Above-linked Greenwich Council report.)
From Willmott Dixon’s project page:
Work: “Shell and core of new cinema and restaurants” Architect: Chapman Taylor Structural Engineer: AECOM
Photos of exterior under construction, interior prior to fit-out, and of foyer post-opening to follow.
Corrections to the description:
The foyer includes 2x self-service Coca-Cola Freestyle and 2x self-service Tango Ice Blast machines.
It is the first cinema in the town centre since the ABC closed in 1972; however, the Coronet (Odeon) Well Hall was only ~1km away, also only 500m from Eltham Station.
joeswin: If memory serves correctly, the first generation of “modern” (i.e. post mid-80s) multiplexes tended to include curtains. It wasn’t until the next generation designs—second half of the 90s—featuring stadium stepped seating, with only moderately angled front splay walls, that they were dispensed with—e.g. typical example of Warner Bros. International Theatres* house style. Of course, these “evolved” to today’s standard “black box” auditoria with wall-to-wall screens.
(*The same house style was used in Warner cinemas outside of the partnership between Warner Bros. International Theatres and Village Roadshow; Warner Mycal in Japan, for instance.)
Zappomatic: Indeed, and I bought ice cream from there myself from the kiosk in the linked image! However, the unit’s current use class remains the one in place for the Bureau de Change that previously operated there, so Cineworld still need permission for the change of use to allow the operation of a takeaway.
Covered in a BBC News article titled “Birmingham, Albama: A City Using Theatres to Reinvent Itself.”
Cineworld have submitted planning applications for changes to the frontage and a new takeaway counter in the old “Ritz”/“Empire 2” entrance in 1-4 Leicester Square. (I suppose strictly this should go under its separate page on CT, but to my mind it reads as part of the cinema as a whole?)
The main “FULL” application is dated as received 8th February 2019, with the (sloppily written!) “Design and Access Statement” summarising the scheme, including a rendering on p7; Chapman Taylor is the project architect.
In summary, the proposal is for a “HUNGER GAMES” (Cineworld’s own brand) “kiosk,” removal of the existing brown granite to be replaced with black metal cladding, and the installation of a 6.55x1m LED display module screen above (to display static images only.)
A good idea to bring that section of the frontage back into use, but it looks quite tacky, albeit the rendering is of poor quality—and must Cineworld dispose of yet more high quality finishing materials?
It wouldn’t surprise me to see that the LED screen aspect will go to appeal.
Some further information on Cineworld’s 2018 foyer/lobbies refurbishment and 4DX conversion of the former Screen 2 is available in an article on the website of AV Magazine, dated 22nd March 2019.
The relevant sections of the article are:
Foyer/lobbies: Under the heading “Making a grand entrance.” 4DX: A few paragraphs under the sub-heading: “Four types of 4DX.”
I will summarise relevant key points from the article here (with the foyer/lobbies information added to the cinema’s main page on CT.)
Some further information on Cineworld’s 2018 foyer/lobbies refurbishment and 4DX conversion of the former Screen 2 is available in an article on the website of AV Magazine, dated 22nd March 2019.
The relevant sections of the article are:
Foyer/lobbies: Under the heading “Making a grand entrance.” 4DX: A few paragraphs under the sub-heading: “Four types of 4DX.”
I will summarise relevant key points from the article here (with the 4DX information added to its own page on CT.)
Zappomatic: Thank you for the update.
Progress on the extension work is covered in an article on the website of AV Magazine, including photos. The fit-out started in December 2018.
Some key points from the article:
The article includes some puzzling statements, particularly the claim that the O2’s Superscreen is the largest screen in the UK (excluding the BFI IMAX)—Cineworld themselves operate venues with auditoria fitted with larger screens!
A comprehensive video tour of the cinema is available on YouTube, upload dated October 2018. Despite having been closed for almost 15 years, at the time of shooting, it was in a largely intact condition, with only a “soft” strip of fittings; wall finishes, carpets and suspended ceilings are still intact.
Not the grandest of venues, but a rare opportunity to see an “urban exploration” (permission for the tour was granted by Hope Church) of a cinema closed for many years that hasn’t been trashed by vandals, pigeons or water.