Update—Leicester Square visit today—“Glass box” frame up, glazing partially installed, the new high level “Odeon” logo installed has been on the tower, as well as the new “side” facing logo above the former Mezzanine/Studios entrance.
Interiors of foyer areas are now less visible externally (early evening,) lacking the earlier floodlighting at circle foyer level and obscured by the partially-completed “glass box.”
Foyer areas still look entirely unfinished viewed externally, being of course still open to the elements. Mechanical/electrical services installation appeared to be underway in the ground level foyer.
The building is certainly looking a great deal less forlorn than it was a few months ago!
FanaticalAboutOdeon: Many thanks for your reply. I forgot to ask—do you know whether tabs and moveable masking are included in the refurbished auditorium?
Regarding flying ladies, are the 1998 recreations simply not being reinstated, albeit perhaps coated in a different colour? The new colour appears grey in the renderings.
A Dolby Cinema page has been posted on Odeon’s website.
Specific to the OLS, to quote:
“It combines state-of-the-art audio and visual technology with the grandeur of deco architecture to create an unforgettable cinematic experience[…]
“This debut Dolby Cinema introduces the UK to the combination of Dolby Vision, the dual-laser projection system which offers spectacular, high-contrast, dramatic imaging[…]
“Four hundred meticulously aligned speakers project sounds that can explosively fill the entire space or flit quietly overhead as the story unfolds[…] (Comment: 400?! Presumably, by counting every last driver?)
“Carefully preserving the historical significance of the auditorium, including the classic Royal Box balcony, the largest Dolby Cinema to date is thoughtfully designed to eliminate visual distractions, with clear sightlines for all premium seats and acoustic isolation construction.”
I can’t say I ever noticed any problems with acoustic isolation in the auditorium as it was, albeit the HVAC may have been somewhat too audible. It would, of course, be churlish to complain about a high degree of auditorium isolation being reinstated or improved upon!
(As previously noted, viewed from Leicester Square, it looked as though British Gypsum SoundBloc plasterboard has been attached under the circle, the colour of the paper facing matching that product line.)
Thank you FanaticalAboutOdeon, that resolves some previous discussions on this site on the screen width.
Regarding sightlines to the top of the screen from rear stalls, I took dimensions from the new licensing plans and scaled them onto the wonderful 1930s cut-away diagram. It’s possible that this wasn’t drawn to scale—but assuming it’s close enough, and also assuming an increased rake for the new stalls, it is an improvement over previous which was within a hair’s breath. Nevertheless, it still very much constrains the maximum screen height possible, precluding a “giant” screen ahead of the proscenium.
Odeon’s renderings suggest predominantly dark—if not black—coloured side walls/ceiling for the auditorium; do you know if this is the case?
Giles: The screen is shown as still being 48ft. wide in the planning documents, albeit it might have been moved further forward to the proscenium opening.
I’ve previously posted “pie in the sky” ideas for what might have been possible, but—for whatever reason—it’s clear now that they aren’t going down that path, and various structural constaints have been mentioned here by FanaticalAboutOdeon (girder above the proscenium opening, for instance.)
The poor sightlines from the rear stalls are well known, with the top of the screen only just being visible from the last row. It is clear from the plans that the stalls have been “restepped” for the recliners and as no steps nor level change is shown between the ground floor foyer and the rear of the stalls, i.e. the new rear of the stalls is presumably at the same or about the same level as the previous.
Thus, it is likely that the last row of the stalls will still have very tight sightlines—this alone would constrain the screen height (and thus width.)
48ft. wide for an auditorium of that size is definitely too small with the last row of the circle being ~2.75x screen width away from the screen. (Max. 1x for IMAX—or at least a “classic” IMAX!) However, the front stalls should be OK (~0.4s screen width away), or the front circle (~1.3x screen width away) for those not inclined to recline (!) and prefering a more traditional distance, as well as a better optimised vertical position and viewing angle in relation to the screen.
I’m not up to speed on all the requirements for a “Dolby Cinema,” but, I don’t think having an “immersive” screen size (in the IMAX or “giant screen” sense) is mandatory. Rather it is focused on picture/sound (including a black auditorium to optimise contrast.) Additionally, the “classic” IMAX requirements have been set aside in certain cases (TCL Chinese Theatre being an obvious example, where the last row is much further than 1x screen width away from the screen.)
I have just revisited the licensing application previously linked to, and it is not yet shown as approved. However, an additional “POLICE CONDITIONS” document, dated 14th November 2018, has been added; of the new conditions, of note (to quote):
“There shall be a minimum of two SIA door supervisors on duty from 20:00 until 02:00 Thursday Friday and Saturday. They shall display their licences in yellow hi viz arm bands. At all other times the premises shall risk assess the requirement for SIA security and document their assessment, which shall be made available to the Responsible Authorities upon request.
“On Thursday, Friday and Saturday between 22:00 and 02:00 hours, all bags shall be searched. At all other times the requirement to conduct searches will be on a documented risk assessment basis.”
I shall avoid any political comment on this other than to say it all sounds like a lot of intrusive “security theatre” and seems highly inappropriate to the cinema experience! :–(
Update: Quick visit to Leicester Square last night—conditions were not ideal due to the wet weather!
There was no sign (visually or aurally) of building work being underway, but the foyer areas were well lit.
There was very little externally visible progress, with some additional services (ducting, pipes, cable trays, etc.) added to the circle foyer ceiling.
Lest anyone think that the works are far from complete, it is instructive to review Zappomatic’s photos of the Cineworld (Empire) Leicester Square foyer works undertaken earlier this year.
Whilst that project had a different scope and set of constraints, it can be seen that from the end of February 2018 to ~6 weeks later, the public areas had been transformed from plasterboard to a finished state.
Paul Stephenson: That canopy signage is in fact an LED display, as shown in the first document titled “EXTERNAL SIGNAGE” of the relevant planning application.
“OSCAR DEUTSCH ENTERTAINS OUR NATION” was example text, one might imagine to present the external proposals/signage in a favourable light; see p10 of the “DESIGN AND ACCESS STATEMENT” in the main application relating to the external alterations.
To quote:
“It is also proposed to have a white lit band to the edge of the canopy featuring a written historical reference – ‘Oscar Deutsch Entertains Our Nation’. The Text will be provided by LED panels, and will be capable of change – e.g. for Premiere performances.”
Obviously, no such condition for “historical references” is among those in the advertising consent!
Looks like an error in that part of the rendering?
I would imagine the old safety curtain was permanently removed in the strip-out along with the rest of the asbestos-containing materials. It’s not apparent if what’s rendered is supposed to be a curtain or simply a projected image?
Alas, the proscenium end is just too dark in this picture to make out much. It looks like the ceiling has been altered, with a “kink” just behind an overhead line array speaker.
HowardBHaas: As I’ve noted elsewhere on CT—Odeon Birmingham Broadway Plaza and Odeon Orpington—it seems that at least some of Odeon’s own brand premium large format “iSense” auditoria do include moveable masking.
Not sure what the impact of AMC’s ownership will be in this respect; mostly they seem to be implementing their “recliner” strategy, as well as their press releases mentioning concessions offerings. One would also imagine that the agreement with Dolby for UK Dolby Cinema sites also may be connected to AMC ownership. (Furthermore, AMC majority shareholder Wanda also has many Dolby Cinema locations built or in the pipeline in their own cinemas.)
As the new screen location appears to be behind the proscenium still, and the organ being kept in particular indicates the project’s objectives in relation to the continuity of heritage aspects, hopefully tabs and moveable masking will be reinstated—if not, at least the laser projection will yield low black levels for non-“scope” format content. Certainly letterboxed “scope” format images are, if not ideal, acceptable over in the IMAX with Laser auditorium across the square.
LARGE_screen_format: Good news! I suspect it will be the “downsized” version for “multiplex”-sized IMAX venues rather than the original system intended to replace 15/70 projectors in classic “Grand Theatre” venues (and similarly scaled new builds or conversions.)
As a new build, it might just be one of the best IMAX/PLF screens in the country—technically speaking, of course.
The refurbishment cost £6.5m and was delivered in a 20 week construction programme. The design was “in brand” with bespoke elements, including an “acoustic timber” ceiling in the foyer.
The page includes a number of high resolution photos of the foyer and lobby areas, the iSense auditorium, and another auditorium.
From these photos, the iSense auditorium boasts JBL rear speakers, and the screen appears to include moveable masking.
The other auditorium seems to have retained old KCS rear speakers, presumably kept from the original installation, which seems like penny pinching given the sums involved in this project.
This aside, it looks like a very good place to see a film.
The high-level banner on the LSQ facade currently advertises “Halloween,” with “AT CINEWORLD LEICESTER SQUARE NOW” in red letters at the bottom.
Perhaps Cineworld have finally figured out a way to put their brand name on the front of the building so that it can actually be seen from the other side of the square!
An academic article authored by Alexa Raisbeck, this contains a potted history of cinemas in LSQ and some photos of auditoria and exterior, paying some particular attention to the Empire Leicester Square.
Whilst I share the author’s concerns over the potential impact of redevelopment on the place of Leicester Square in the cinematic world, the topic seems rather odd when major investment has been made over the past few years into the flagship sites.
It should be noted that the article contains a number of errors, many of which could have been rectified simply by reading through the relevant material and comments posted on Cinema Treasures.
The film was shot on a combination of 16mm, 35mm and 65mm (IMAX/15 perf) film, as an intentional aesthetic choice.
In an IMAX with Laser venue with a 1.43:1 screen, it would be shown in 2.39:1 “scope” ratio, except for the scenes shot using 65mm IMAX cameras, which would “open up” to 1.43:1. All images for an IMAX version of a release usually go through IMAX’s DMR (Digital Media Remastering) process, the details of which do not appear to be public, but include noise reduction and colour grading (adjustment.)
This process is done in collaboration with the filmmaker; e.g., regarding Skyfall, Roger Deakins himself posted the following online:
“I did not like the look of the IMAX dmr process, which enhances contrast and saturation, so I insisted we timed our own version. Everyone seemed quite happy with the results.”
The use of noise reduction, one imagines, would be less aggressively used or not used if the image is supposed to look coarse grained!
(“DMR” originally was to allow for “blow ups” of 35mm to 15/70 IMAX so that the image quality would be acceptable on a classic “Grand Theatre” IMAX screen.)
So, you would see a potentially “enhanced” image, see the “IMAX” scenes in full height rather than cropped to scope, as they would be in non-IMAX venues, and get the benefit of IMAX with Laser projection system (including superior black level performance than Xenon-lamp projection, and the other benefits of a purpose-built IMAX, such as confirming to their auditorium geometry so that you’re sat sufficiently close to the screen, etc.)—but obviously 16mm (!) source—or 35mm for that matter—in particular will constrain the quality achieved on screen.
Update: Construction of the “glass box” balcony feature has started, with metalwork (steel beams and profiles for a floor deck) now overhanging the front wall. It may still not be much to look at, but it shouldn’t be too long before the “Cat B” fit-out of the foyers is initiated…
These speakers are intended for sound reinforcement applications rather than cinemas—I suppose the Royal Albert Hall is a big, multi-level, place to fill! (Besides, I’d be surprised if cinema speakers are available to rent for “event” applications?)
There is an odd quote in the article which says “‘Of course the film is not recorded in 7:1…’” — not quite sure what that means—perhaps that Atmos is among the sound formats available for the theatrical release, or perhaps it’s simply an error?!
As 5.1 and 7.1 are mentioned, and among the sound formats for the theatrical release of the movie was a 7.1 mix, I’d assume the latter is what was used.
Update—Leicester Square visit today—“Glass box” frame up, glazing partially installed, the new high level “Odeon” logo installed has been on the tower, as well as the new “side” facing logo above the former Mezzanine/Studios entrance.
Interiors of foyer areas are now less visible externally (early evening,) lacking the earlier floodlighting at circle foyer level and obscured by the partially-completed “glass box.”
Foyer areas still look entirely unfinished viewed externally, being of course still open to the elements. Mechanical/electrical services installation appeared to be underway in the ground level foyer.
The building is certainly looking a great deal less forlorn than it was a few months ago!
A photo has been uploaded.
FanaticalAboutOdeon: Many thanks for your reply. I forgot to ask—do you know whether tabs and moveable masking are included in the refurbished auditorium?
Regarding flying ladies, are the 1998 recreations simply not being reinstated, albeit perhaps coated in a different colour? The new colour appears grey in the renderings.
A Dolby Cinema page has been posted on Odeon’s website.
Specific to the OLS, to quote:
“It combines state-of-the-art audio and visual technology with the grandeur of deco architecture to create an unforgettable cinematic experience[…]
“This debut Dolby Cinema introduces the UK to the combination of Dolby Vision, the dual-laser projection system which offers spectacular, high-contrast, dramatic imaging[…]
“Four hundred meticulously aligned speakers project sounds that can explosively fill the entire space or flit quietly overhead as the story unfolds[…] (Comment: 400?! Presumably, by counting every last driver?)
“Carefully preserving the historical significance of the auditorium, including the classic Royal Box balcony, the largest Dolby Cinema to date is thoughtfully designed to eliminate visual distractions, with clear sightlines for all premium seats and acoustic isolation construction.”
I can’t say I ever noticed any problems with acoustic isolation in the auditorium as it was, albeit the HVAC may have been somewhat too audible. It would, of course, be churlish to complain about a high degree of auditorium isolation being reinstated or improved upon!
(As previously noted, viewed from Leicester Square, it looked as though British Gypsum SoundBloc plasterboard has been attached under the circle, the colour of the paper facing matching that product line.)
Thank you FanaticalAboutOdeon, that resolves some previous discussions on this site on the screen width.
Regarding sightlines to the top of the screen from rear stalls, I took dimensions from the new licensing plans and scaled them onto the wonderful 1930s cut-away diagram. It’s possible that this wasn’t drawn to scale—but assuming it’s close enough, and also assuming an increased rake for the new stalls, it is an improvement over previous which was within a hair’s breath. Nevertheless, it still very much constrains the maximum screen height possible, precluding a “giant” screen ahead of the proscenium.
Odeon’s renderings suggest predominantly dark—if not black—coloured side walls/ceiling for the auditorium; do you know if this is the case?
Marvellous!
Giles: The screen is shown as still being 48ft. wide in the planning documents, albeit it might have been moved further forward to the proscenium opening.
I’ve previously posted “pie in the sky” ideas for what might have been possible, but—for whatever reason—it’s clear now that they aren’t going down that path, and various structural constaints have been mentioned here by FanaticalAboutOdeon (girder above the proscenium opening, for instance.)
The poor sightlines from the rear stalls are well known, with the top of the screen only just being visible from the last row. It is clear from the plans that the stalls have been “restepped” for the recliners and as no steps nor level change is shown between the ground floor foyer and the rear of the stalls, i.e. the new rear of the stalls is presumably at the same or about the same level as the previous.
Thus, it is likely that the last row of the stalls will still have very tight sightlines—this alone would constrain the screen height (and thus width.)
48ft. wide for an auditorium of that size is definitely too small with the last row of the circle being ~2.75x screen width away from the screen. (Max. 1x for IMAX—or at least a “classic” IMAX!) However, the front stalls should be OK (~0.4s screen width away), or the front circle (~1.3x screen width away) for those not inclined to recline (!) and prefering a more traditional distance, as well as a better optimised vertical position and viewing angle in relation to the screen.
I’m not up to speed on all the requirements for a “Dolby Cinema,” but, I don’t think having an “immersive” screen size (in the IMAX or “giant screen” sense) is mandatory. Rather it is focused on picture/sound (including a black auditorium to optimise contrast.) Additionally, the “classic” IMAX requirements have been set aside in certain cases (TCL Chinese Theatre being an obvious example, where the last row is much further than 1x screen width away from the screen.)
I have just revisited the licensing application previously linked to, and it is not yet shown as approved. However, an additional “POLICE CONDITIONS” document, dated 14th November 2018, has been added; of the new conditions, of note (to quote):
“There shall be a minimum of two SIA door supervisors on duty from 20:00 until 02:00 Thursday Friday and Saturday. They shall display their licences in yellow hi viz arm bands. At all other times the premises shall risk assess the requirement for SIA security and document their assessment, which shall be made available to the Responsible Authorities upon request.
“On Thursday, Friday and Saturday between 22:00 and 02:00 hours, all bags shall be searched. At all other times the requirement to conduct searches will be on a documented risk assessment basis.”
I shall avoid any political comment on this other than to say it all sounds like a lot of intrusive “security theatre” and seems highly inappropriate to the cinema experience! :–(
Addendum: Apologies for the poor quality photo, owing to the wet weather.
Update: Quick visit to Leicester Square last night—conditions were not ideal due to the wet weather!
There was no sign (visually or aurally) of building work being underway, but the foyer areas were well lit.
There was very little externally visible progress, with some additional services (ducting, pipes, cable trays, etc.) added to the circle foyer ceiling.
Lest anyone think that the works are far from complete, it is instructive to review Zappomatic’s photos of the Cineworld (Empire) Leicester Square foyer works undertaken earlier this year.
Whilst that project had a different scope and set of constraints, it can be seen that from the end of February 2018 to ~6 weeks later, the public areas had been transformed from plasterboard to a finished state.
Cropped photo of the view in from LSQ uploaded.
An early view of the original “Flying Ladies”:
Craftsmen put final touches to the ‘Flying Ladies’ plaster figure reliefs.
Paul Stephenson: That canopy signage is in fact an LED display, as shown in the first document titled “EXTERNAL SIGNAGE” of the relevant planning application.
“OSCAR DEUTSCH ENTERTAINS OUR NATION” was example text, one might imagine to present the external proposals/signage in a favourable light; see p10 of the “DESIGN AND ACCESS STATEMENT” in the main application relating to the external alterations.
To quote:
“It is also proposed to have a white lit band to the edge of the canopy featuring a written historical reference – ‘Oscar Deutsch Entertains Our Nation’. The Text will be provided by LED panels, and will be capable of change – e.g. for Premiere performances.”
Obviously, no such condition for “historical references” is among those in the advertising consent!
joeswin: Thanks for the link.
Looks like an error in that part of the rendering?
I would imagine the old safety curtain was permanently removed in the strip-out along with the rest of the asbestos-containing materials. It’s not apparent if what’s rendered is supposed to be a curtain or simply a projected image?
Alas, the proscenium end is just too dark in this picture to make out much. It looks like the ceiling has been altered, with a “kink” just behind an overhead line array speaker.
HowardBHaas: As I’ve noted elsewhere on CT—Odeon Birmingham Broadway Plaza and Odeon Orpington—it seems that at least some of Odeon’s own brand premium large format “iSense” auditoria do include moveable masking.
Not sure what the impact of AMC’s ownership will be in this respect; mostly they seem to be implementing their “recliner” strategy, as well as their press releases mentioning concessions offerings. One would also imagine that the agreement with Dolby for UK Dolby Cinema sites also may be connected to AMC ownership. (Furthermore, AMC majority shareholder Wanda also has many Dolby Cinema locations built or in the pipeline in their own cinemas.)
As the new screen location appears to be behind the proscenium still, and the organ being kept in particular indicates the project’s objectives in relation to the continuity of heritage aspects, hopefully tabs and moveable masking will be reinstated—if not, at least the laser projection will yield low black levels for non-“scope” format content. Certainly letterboxed “scope” format images are, if not ideal, acceptable over in the IMAX with Laser auditorium across the square.
Thanks to all for the heads up.
The joint Odeon Cinemas Group/Dolby press release went out via Businss Wire:
London’s Glittering Home of the Premiere Returns: ODEON Luxe Leicester Square to Reopen Following Multi Million Pound Luxe Upgrade and Introducing the UK’s First Dolby Cinema.
This is the same release but includes two high resolution renderings; alas, the auditorium is not included.
Still no view of the proscenium so it remains to be seen if tabs and masking are reinstated.
The release also reaffirms that the Compton organ will remain intact.
All is looking good though I’m still not sure what colour the sidewalls/ribbed plasterwork will be from these renderings?
Let’s hope the cinema does reopen for Christmas 2018 as stated…
LARGE_screen_format: Good news! I suspect it will be the “downsized” version for “multiplex”-sized IMAX venues rather than the original system intended to replace 15/70 projectors in classic “Grand Theatre” venues (and similarly scaled new builds or conversions.)
As a new build, it might just be one of the best IMAX/PLF screens in the country—technically speaking, of course.
NBDA Architects' Case Study on Odeon Luxe Birmingham Broadway Plaza.
The refurbishment cost £6.5m and was delivered in a 20 week construction programme. The design was “in brand” with bespoke elements, including an “acoustic timber” ceiling in the foyer.
The page includes a number of high resolution photos of the foyer and lobby areas, the iSense auditorium, and another auditorium.
From these photos, the iSense auditorium boasts JBL rear speakers, and the screen appears to include moveable masking.
The other auditorium seems to have retained old KCS rear speakers, presumably kept from the original installation, which seems like penny pinching given the sums involved in this project.
This aside, it looks like a very good place to see a film.
kistra: No probs, you’re welcome! :–)
Or, more precisely, cantilevers over the pavement, within the property boundary.
The BFI IMAX is available to hire via Headbox.com, starting at a mere £6200.
Included in the above-linked page is a gallery of high resolution (if not having sufficient depth of field!) photos.
The high-level banner on the LSQ facade currently advertises “Halloween,” with “AT CINEWORLD LEICESTER SQUARE NOW” in red letters at the bottom.
Perhaps Cineworld have finally figured out a way to put their brand name on the front of the building so that it can actually be seen from the other side of the square!
Photo uploaded.
“Extinguishing Spotlights: the Uncertain Future of Cinematic Heritage in London’s Leicester Square”.
An academic article authored by Alexa Raisbeck, this contains a potted history of cinemas in LSQ and some photos of auditoria and exterior, paying some particular attention to the Empire Leicester Square.
Whilst I share the author’s concerns over the potential impact of redevelopment on the place of Leicester Square in the cinematic world, the topic seems rather odd when major investment has been made over the past few years into the flagship sites.
It should be noted that the article contains a number of errors, many of which could have been rectified simply by reading through the relevant material and comments posted on Cinema Treasures.
https://www.imdb.com/title/tt1213641/technical?ref_=tt_dt_spec
The film was shot on a combination of 16mm, 35mm and 65mm (IMAX/15 perf) film, as an intentional aesthetic choice.
In an IMAX with Laser venue with a 1.43:1 screen, it would be shown in 2.39:1 “scope” ratio, except for the scenes shot using 65mm IMAX cameras, which would “open up” to 1.43:1. All images for an IMAX version of a release usually go through IMAX’s DMR (Digital Media Remastering) process, the details of which do not appear to be public, but include noise reduction and colour grading (adjustment.)
This process is done in collaboration with the filmmaker; e.g., regarding Skyfall, Roger Deakins himself posted the following online:
“I did not like the look of the IMAX dmr process, which enhances contrast and saturation, so I insisted we timed our own version. Everyone seemed quite happy with the results.”
The use of noise reduction, one imagines, would be less aggressively used or not used if the image is supposed to look coarse grained!
(“DMR” originally was to allow for “blow ups” of 35mm to 15/70 IMAX so that the image quality would be acceptable on a classic “Grand Theatre” IMAX screen.)
So, you would see a potentially “enhanced” image, see the “IMAX” scenes in full height rather than cropped to scope, as they would be in non-IMAX venues, and get the benefit of IMAX with Laser projection system (including superior black level performance than Xenon-lamp projection, and the other benefits of a purpose-built IMAX, such as confirming to their auditorium geometry so that you’re sat sufficiently close to the screen, etc.)—but obviously 16mm (!) source—or 35mm for that matter—in particular will constrain the quality achieved on screen.
Update: Construction of the “glass box” balcony feature has started, with metalwork (steel beams and profiles for a floor deck) now overhanging the front wall. It may still not be much to look at, but it shouldn’t be too long before the “Cat B” fit-out of the foyers is initiated…
A photo has been uploaded.
This is a CG rendered shot of the refurbished/altered auditorium from Odeon’s website.
https://www.odeon.co.uk/cinemas/leicester_square/105/ now redirects to https://www.odeon.co.uk/cinema/odeon-leicester-square/. Presumably the former was a placeholder page that should never have been seen, since, AFAIK, no press release was issued, nor was there any media coverage, nor was the page linked to when selecting “Odeon Leicester Square” as a cinema option from elsewhere on Odeon’s site,.
Lest anyone reading this has not seen the posted renders:
OLS Refurbishment Rendered Images.
LARGE_screen_format:
“Spectre Thrills at the Royal Albert Hall” – Audio Media International.
These speakers are intended for sound reinforcement applications rather than cinemas—I suppose the Royal Albert Hall is a big, multi-level, place to fill! (Besides, I’d be surprised if cinema speakers are available to rent for “event” applications?)
There is an odd quote in the article which says “‘Of course the film is not recorded in 7:1…’” — not quite sure what that means—perhaps that Atmos is among the sound formats available for the theatrical release, or perhaps it’s simply an error?!
As 5.1 and 7.1 are mentioned, and among the sound formats for the theatrical release of the movie was a 7.1 mix, I’d assume the latter is what was used.