With all the talk in the comments below about a new screen, can I take it that it will still be a 2.39 Scope screen rather than a so called ‘Large Screen Format’ one at 1.90.
I have read elsewhere that one of the Xtreme screens is just 1.85 necessitating that Scope films have to be letterboxed.
With the majority of films now shot in Scope, I find it somewhat amazing that one of the major screens in a recently built cinema cannot show them properly. The screen, in essence, just becomes a large TV set.
Can anyone else comment on whether the other screens in the complex are Scope or Flat ?
From the auditorium information and the virtual tour on the cinema website, it would appear that both Impact screens (Screens 1 and 8), Screen 10 and the D-Box screen all have 1.85 Flat screens necessitating that Scope have to be shown letterboxed.
If the larger screens are just 1.85 I can only presume that all the rest are too. Whether this is a hangover from when the cinema was built for UCI or a consequence of the upgrade by Empire cinemas, I do not know.
In my opinion, with the majority of films now shot in Scope this does not make this a good place to watch movies in. It will be just like watching a big TV set.
I looked at their virtual tour presentation. It confirmed that of the two Impact auditoria Screen 1 has a Scope screen whilst Screen 2 has a Flat screen.
It also showed one of the smaller screens (Screen 8) which has Scope screen with no masking.
The two small D-Box screens (14 seats in each) were also shown. These both had Flat screens. It also showed that the Exit door in both was right next to the screen which hardly seems like a good design, perhaps unavoidable as this was a conversion of an old building. Then with just 14 seats each I don’t much it matters much where the door is.
From what I read on the cinema website and from the comments below, I gather:
Screen 1 Impact Luxe is a 2.39 Scope screen at 19.5 by 8.2
Screen 2 Impact Blue is a 1.85 Flat screen at 12.4 by 6.7
With the majority of films now filmed in Scope, it seems an extraordinary decision to build one of the major screens as 1.85 Flat requiring Scope films to be letterboxed. This just makes it a glorified TV set.
Any idea whether the other screens are Scope or Flat ?
The largest auditorium (Screen 8) has been refurbished and rebranded as a Luxe screen with the seating accordingly reduced from 353 to 135.
It is unclear if the other screens are also going to similarly refurbished. It is possible that Odeon consider that for some cinemas it is impractical to rebrand all the screens as Luxe. This may be such a case. All the other screens seem to be currently operational.
The two smallest auditoria (Screens 1 and 8) have been refurbished and rebranded as Luxe screens, each with 41 recliner seats.
It is unclear if the other screens are also going to similarly refurbished.
It is possible that Odeon consider that for some cinemas it is impractical to rebrand all the screens as Luxe. This may be such a case. All 8 screens are currently operational.
The Guardian reports that planning permission has now been granted for refurbishment of the cinema plus the addition of an additional screen in the basement.
The link can be found via the Cinema Theatre Association Facebook page.
The auditorium had a fairly narrow proscenium which was fine for standard widescreen films (1.66 or 1.75) but not for Scope movies; these had to be shown with top down masking.
What is perhaps surprising is that the building still stands today. It is not of any architectural importance and indeed looks rather bleak (as seen in the photos). This one stands while many more architectural significant cinemas have been demolished.
Two of the photos seem to show 1.85 ratio screens necessitating Scope films to be shown letterboxed with no masking. This sadly seems to be standard practice nowadays with Cineworld’s new build cinemas.
Seeing films like this, one could argue makes the experience nothing more than watching a large TV set. In fact it is slightly worse as, assuming the projector is set ‘Flat’, just 1998 of the 2048 horizontal pixels are being projected, reducing the Scope ratio from 2.39 to 2.32.
CF100, you mention the lack of masking. So, is the new screen just 1.85 rather than Scope.
The two photos of the screen in the ‘Photos’ section both show a Scope screen. Were these then taken before its 4DX conversion ?
If indeed Cineworld have taken out the Scope screen and replaced it by a 1.85 Flat screen, this does seem rather strange as nearly all films nowadays are filmed for Scope.
I went into Screen 1. It’s fairly small, just 7 rows of seats.
I sat in Row 4, just halfway. For its size the screen is quite impressive when out in Scope. It is full wall-to-wall with movable side masking. If you choose a seat well, it is a good place to see a film in.
All 6 screens are Scope with movable side masking.
Screen 3 (the largest) is particularly impressive and is a great place to see movies in. Screen 2 (second largest) is also very good.
Some of the other screens (4, 5 and 6) don’t seem quite as full Scope as they should be. I have no way of measuring but I would estimate they are more 2.25 to 2.30 shaped than the proper 2.39. They always have been like this even in 35mm days.
Since the cinema went digital Screens 4 and 5 show the Scope image very slightly letterboxed top and bottom, presumably in an attempt to make the image closer to 2.39. As it is I find the slight letterboxing rather irritating.
Speaking to the management they say that there is nothing they can do locally, all such technical decisions are controlled from Head Office. The solution would require altering the fixed part of the masking and the projection lens to give correct shaped Flat and Scope images. Despite being informed, Odeon Head Office have shown little interest in fixing the problem, perhaps because it would involve spending some money.
One can only hope that Odeon’s new owners will sort this out whenever they come to upgrading the cinema. At the moment the logo ‘Fanatical About Film’ rings slightly hollow.
CF100, Thank you for the information; it is appreciated.
My understanding is that “classic IMAX” is indeed 1.43 ratio on film. Digital IMAX is always 1.90 as that is the size of the Digital Container.
— 2048 by 1080 pixels for 2K presentations.
-— 4096 by 2160 pixels for 4K presentations.
Thus for DUNKIRK, which Christopher Nolan did film in part with classic IMAX film cameras, the presentation at BFI IMAX on IMAX film was at 1.43 whilst any IMAX presentation at Cineworld LSQ Square must have been at 1.90 as it was digital. Over the road at Odeon LSQ, the presentation would have been at 2.20 as it was showing standard 70mm. Confusing indeed.
I must confess that I know nothing about Laser IMAX yet and therefore don’t know about its ratios. If Laser is about how the pixels are projected rather than how they are created, then I would have thought that the there would be no change to the ratios.
One of the pleasures of cinema going to me is seeing a perfectly picture perfectly projected and perfectly framed and masked. This is often the case but not always. With the rush to ‘Large Screen Format’ screens, as cinemas like to call them, some peculiar decisions seem to be taken; installing a 1.70 screen screen when nothing is ever shown in that ratio being one.
Any reason for the closure ? Poor business ? Too much competition from Vue at Westfield ? Too large a rent increase to renew the lease ? ……. or what ?
I am rather surprised by this announcement
Refurbishment complete and extra screens open – September 2018.
Now a 5 screen cinema.
With all the talk in the comments below about a new screen, can I take it that it will still be a 2.39 Scope screen rather than a so called ‘Large Screen Format’ one at 1.90.
I hope so.
I have read elsewhere that one of the Xtreme screens is just 1.85 necessitating that Scope films have to be letterboxed. With the majority of films now shot in Scope, I find it somewhat amazing that one of the major screens in a recently built cinema cannot show them properly. The screen, in essence, just becomes a large TV set.
Can anyone else comment on whether the other screens in the complex are Scope or Flat ?
From the auditorium information and the virtual tour on the cinema website, it would appear that both Impact screens (Screens 1 and 8), Screen 10 and the D-Box screen all have 1.85 Flat screens necessitating that Scope have to be shown letterboxed.
If the larger screens are just 1.85 I can only presume that all the rest are too. Whether this is a hangover from when the cinema was built for UCI or a consequence of the upgrade by Empire cinemas, I do not know.
In my opinion, with the majority of films now shot in Scope this does not make this a good place to watch movies in. It will be just like watching a big TV set.
I looked at their virtual tour presentation. It confirmed that of the two Impact auditoria Screen 1 has a Scope screen whilst Screen 2 has a Flat screen.
It also showed one of the smaller screens (Screen 8) which has Scope screen with no masking.
The two small D-Box screens (14 seats in each) were also shown. These both had Flat screens. It also showed that the Exit door in both was right next to the screen which hardly seems like a good design, perhaps unavoidable as this was a conversion of an old building. Then with just 14 seats each I don’t much it matters much where the door is.
From what I read on the cinema website and from the comments below, I gather: Screen 1 Impact Luxe is a 2.39 Scope screen at 19.5 by 8.2 Screen 2 Impact Blue is a 1.85 Flat screen at 12.4 by 6.7
With the majority of films now filmed in Scope, it seems an extraordinary decision to build one of the major screens as 1.85 Flat requiring Scope films to be letterboxed. This just makes it a glorified TV set.
Any idea whether the other screens are Scope or Flat ?
Currently closed undergoing refurbisbment. Not sure as to the extent of the renovation but it has been closed for quite a number of weeks.
It re-opens on 26 September 2018.
Just uploaded a photo of the interior taken from an article on Britain’s best cinemas. An excellent interior with an impressive Scope screen.
The IMAX auditorium (Screen 5) has now been refurbished with 165 recliner seats and rebranded as Odeon Luxe.
It is not clear if the other auditoria are to be refurbished too
The largest auditorium (Screen 8) has been refurbished and rebranded as a Luxe screen with the seating accordingly reduced from 353 to 135.
It is unclear if the other screens are also going to similarly refurbished. It is possible that Odeon consider that for some cinemas it is impractical to rebrand all the screens as Luxe. This may be such a case. All the other screens seem to be currently operational.
The two smallest auditoria (Screens 1 and 8) have been refurbished and rebranded as Luxe screens, each with 41 recliner seats.
It is unclear if the other screens are also going to similarly refurbished. It is possible that Odeon consider that for some cinemas it is impractical to rebrand all the screens as Luxe. This may be such a case. All 8 screens are currently operational.
The cinema had a wide proscenium arch which allowed a CinemaScope screen to be easily installed.
I do not know its dimensions but watching a Scope film from the front circle was an impressive experience.
The Guardian reports that planning permission has now been granted for refurbishment of the cinema plus the addition of an additional screen in the basement.
The link can be found via the Cinema Theatre Association Facebook page.
The auditorium had a fairly narrow proscenium which was fine for standard widescreen films (1.66 or 1.75) but not for Scope movies; these had to be shown with top down masking.
What is perhaps surprising is that the building still stands today. It is not of any architectural importance and indeed looks rather bleak (as seen in the photos). This one stands while many more architectural significant cinemas have been demolished.
Now refurbished and rebranded as Odeon Luxe.
Just announced that it is to close on 9 August 2018. I’m not surprised, it was not up to modern standards.
Two of the photos seem to show 1.85 ratio screens necessitating Scope films to be shown letterboxed with no masking. This sadly seems to be standard practice nowadays with Cineworld’s new build cinemas.
Seeing films like this, one could argue makes the experience nothing more than watching a large TV set. In fact it is slightly worse as, assuming the projector is set ‘Flat’, just 1998 of the 2048 horizontal pixels are being projected, reducing the Scope ratio from 2.39 to 2.32.
Now listed as an Odeon Luxe cinema.
CF100, you mention the lack of masking. So, is the new screen just 1.85 rather than Scope. The two photos of the screen in the ‘Photos’ section both show a Scope screen. Were these then taken before its 4DX conversion ?
If indeed Cineworld have taken out the Scope screen and replaced it by a 1.85 Flat screen, this does seem rather strange as nearly all films nowadays are filmed for Scope.
Not an improvement in my opinion at all.
I went into Screen 1. It’s fairly small, just 7 rows of seats.
I sat in Row 4, just halfway. For its size the screen is quite impressive when out in Scope. It is full wall-to-wall with movable side masking. If you choose a seat well, it is a good place to see a film in.
Looks 1.90 meaning Scope films have to be letterboxed. So it’s really just a big TV screen.
All 6 screens are Scope with movable side masking.
Screen 3 (the largest) is particularly impressive and is a great place to see movies in. Screen 2 (second largest) is also very good.
Some of the other screens (4, 5 and 6) don’t seem quite as full Scope as they should be. I have no way of measuring but I would estimate they are more 2.25 to 2.30 shaped than the proper 2.39. They always have been like this even in 35mm days.
Since the cinema went digital Screens 4 and 5 show the Scope image very slightly letterboxed top and bottom, presumably in an attempt to make the image closer to 2.39. As it is I find the slight letterboxing rather irritating.
Speaking to the management they say that there is nothing they can do locally, all such technical decisions are controlled from Head Office. The solution would require altering the fixed part of the masking and the projection lens to give correct shaped Flat and Scope images. Despite being informed, Odeon Head Office have shown little interest in fixing the problem, perhaps because it would involve spending some money.
One can only hope that Odeon’s new owners will sort this out whenever they come to upgrading the cinema. At the moment the logo ‘Fanatical About Film’ rings slightly hollow.
Zappomatic, Yes that sounds as if the Superscreen is 1.90.
The Digital Container has 2048 by 1080 pixels (1.90).
Flat films are shown using 1998 by 1080 pixels (1.85).
Scope films are shown using 2048 by 858 pixels (2.39).
The control of the projector is always set to ‘Flat’ with the Scope zoom lens never activated.
CF100, Thank you for the information; it is appreciated.
My understanding is that “classic IMAX” is indeed 1.43 ratio on film. Digital IMAX is always 1.90 as that is the size of the Digital Container. — 2048 by 1080 pixels for 2K presentations. -— 4096 by 2160 pixels for 4K presentations.
Thus for DUNKIRK, which Christopher Nolan did film in part with classic IMAX film cameras, the presentation at BFI IMAX on IMAX film was at 1.43 whilst any IMAX presentation at Cineworld LSQ Square must have been at 1.90 as it was digital. Over the road at Odeon LSQ, the presentation would have been at 2.20 as it was showing standard 70mm. Confusing indeed.
I must confess that I know nothing about Laser IMAX yet and therefore don’t know about its ratios. If Laser is about how the pixels are projected rather than how they are created, then I would have thought that the there would be no change to the ratios.
One of the pleasures of cinema going to me is seeing a perfectly picture perfectly projected and perfectly framed and masked. This is often the case but not always. With the rush to ‘Large Screen Format’ screens, as cinemas like to call them, some peculiar decisions seem to be taken; installing a 1.70 screen screen when nothing is ever shown in that ratio being one.