As I previously mentioned, from my conversation with someone from GF Holding (main contractor) on the 19th, they will be returning in January to finish off. It appears that one of the temporary doors that they said will be replaced can be seen in your photo.
Movies for the sake of storytelling not technology
Absolutely—although storytelling is most effective if supported by the best use of “technology”—I trust that you wouldn’t want to watch your favourite films on your mobile phone!
The columns in the 4DX are actually between the seats and the sidewalls. From photos, this was also the case when the auditorium was originally built; however, IIRC, the sidewalls were moved in at some point? By the time I first visited the auditorium, this was not the case, and some of the seats were positioned “behind” the columns!
The 4DX installation needs all the space it can get to be shoehorned in, with the “environmental effects” gear between the columns and the sidewalls, the suspended ceiling being omitted in those areas.
FanaticalAboutOdeon: Many thanks for your detailed post on the “plenum”-type systems used in earlier times.
Thank goodness I never had to experience “smoke-filled” auditoria—it sounds like enough to make one stay at home! Of course, it does explain why systems with high air change rates were needed.
The huge, square grilles visible, with difficulty, on either side of the Odeon’s exterior were the intake/extract points for fresh and stale/smoky air respectively and roughly mark the position of the mountings for golden ladies.
Thanks to Google’s 3D aerial imagery, I’m assuming that the left one can be seen just behind the bend in the rooftop ducts on the adjacent property:
It would seem that the right one must have been blocked when the “Mezzanine” block was built.
I’m slightly surprised that you say that the OLS did not originally include full air conditioning; certainly the Empire had a “Carrier” system when it first opened.
Remarkably, a CIBSE Heritage Group newsletter includes a photo of the “British Thomson-Houston 200 TR water-vapour refrigeration machine […] installed [in the OLS] in 1937.”
(P.S. For the sake of completeness!—details of what, presumably, are the current rooftop chiller units are available in a 2010 planning application.)
[…] suggests the average cinemagoer is unfamiliar with conventional live theatres which I find hard to believe.
Perhaps I shouldn’t have used the word “clearly!”
To you, or I, and perhaps anybody reading this, the idea that the terms “stalls” and “circle” could cause confusion might seem absurd. The only way of finding out the answer with reasonable certainty would be to conduct a formal survey!
At the Empire Leicester Square, the two seating sections in the 1962 auditorium were, in my experience, never referred to as “upstairs” and “downstairs.” Certainly, when booking tickets online, they were referred to as “stalls” and “circle,” and the same is true of the E-tickets that I still have in my E-mailbox, the last being couple of years before the conversion.
(I’m not sure why there are no saved E-tickets from 2013; I must have decided that paying the online booking fee was pointless as the auditorium was invariably so empty that there was no need to book in advance!)
So, given that a member of staff, pointing to a seating diagram which, IIRC, was marked “stalls” and “circle” referred to them as “upstairs” and “downstairs” suggests, perhaps, that other patrons were confused. Incidentally, I was taken aback by this, and responded with “stalls!”
Be it that “circle” and “stalls” are, strictly, “incorrect” in the case of the 1962 Empire, and other similarly configured auditoria, and as the first row of its stadia was (and is!) elevated above stalls level, one would always have to climb a few steps to access the seating (hence the accessible spaces in the IMAX are in the single row in front of the stadia,) “upstairs” and “downstairs” may well be equally “incorrect,”—but they don’t sound anywhere near as “classy!”
I notice that the renderings of the OLS circle foyer include a sign marked “CIRCLE BOX” by the new central vomitory entrance, and, obviously, as I keep using the terms “Stalls,” “Circle,” and for that matter “Royal Circle,” I’m keen for continuity in this respect.
While the design of the average live theatre provided the architectural template for all but the smallest purpose-built cinemas right up until recent times when multiplexes introduced us to less theatrical “black boxes” reminiscent of the more utilitarian viewing room surroundings
It is far from an ideal configuration for a cinema (or a theatre for that matter?) in terms of providing an optimal experience for patrons.
However, it is unfortunate than a “black box” auditoria have become the standard for new builds and refits, but it seems that decorative features are now largely confined to foyer/lobby areas. There really is nothing stopping auditoria from having suitably dark walls (to maximise projected image contrast) and the substantial acoustic treatment needed whilst having a more imaginatively finished interior—certainly the standard stretched fabric systems (that hide the acoustic absorption underneath) are very flexible (the profiles that are used to hold/tension the fabric can be used to form different shapes,) and modern LEDs provide numerous options for a fully conceived approach to lighting.
Re. OLS, I’ve seen a number of articles where outrage has been expressed at the maximum ticket price of £40.75 but not one which tells readers/listeners they can get into the same performance for £10.75.
Exactly! I had a conversation with someone that went something along these lines:
“I’ve booked tickets for the reopening day of the Odeon Leicester Square.”
“Aren’t they £40? It’s not aimed at people like myself.”
“No, I paid much less than that on the first day, and the ticket prices vary depending on where you sit.”
“Oh, but £40? Not for me…(!)”
Not only were there a spate of press coverage when the ticket pricing was first revealed publically, but this same figure is being repeated in later articles!
On the other hand, I am not the only person that took photos outside the OLS as the refurbishment was being finished for reopening!
It is, perhaps iconic more than any other cinema in the UK, and its dominance over the square draws attention unlike any other.
I’m sure I’ll be “swimming against the tide” here (!) but I like the “intelligent ticketing” system employed at OLS.
By the sounds of it, this system is due to be rolled out to other locations?
I have chosen to see “Mary Poppins Returns” (and the Odeon itself of course) during its second week and I’m quite happy to pay £30.75 to sit in the best seats AND make a 400 mile round trip to visit my favourite cinema. In fairness, let’s not forget AMC/Odeons' huge investment and decision to preserve, undivided, the large auditorium – not to mention losing eleven month’s revenue in the process.
I’m willing to pay as much as £30.75 on occasion given, as you say, the high cost of preserving and upgrading the OLS (£10-15m was publically disclosed as the projected cost before the works had been contracted out; have you any idea of the actual magnitude of cost incurred?)
BTW, in the mid-1990s, the cost of entry for a weekday matinee seat was between £4-6 depending on the seating area chosen—which, given inflation, equates to about double that in today’s money.
To summarise the “new” information according to the article, with comments:
The “screen” weighs 25 tonnes, and is suspended from the “ceiling.” This is more than double the weight of the screen frame of the IMAX across the square, so I assume this includes everything (speakers and whatever is required to allow the frame to move back and forth.)
“If you’re sitting in the top tier then you’ll see some nice wood panelling, which also has the effect of insulating sound waves.” This was shown in the stalls also in the renderings, and presumably its primary intended function is not to “insulate” the auditorium but rather to absorb sounds within, reducing wall reflections. As I mentioned previously, my guess is this is an “acoustic wood panel”-type product.
Each of the 400 speakers are “controlled individually”—I wonder quite what is meant—whether “active” line arrays, which allow for the dispersion pattern to be altered by changing the input to each set of drivers, are used? If this is the case, it would be one incredibly expensive installation for a cinema.
Background sound levels in the auditorium controlled to NC25—that is, very quiet indeed!
Kers: I don’t know if they are the “highest ever admission charges” in the UK; however, excluding special occasions as gala charity premieres, or “Gallery”-type tickets with food/beverages included, I imagine you are quite correct.
From talking to those with no special interest in cinemas, the “£40” ticket price seems to have stuck—not only did it garner attention via “social media” just as soon as bookings were made available on Odeon’s website, but it seems to have “infected” the “echo chamber” that is the domain of the general media’s “lazy” journalists!
No doubt this has provided much “free” publicity, and sometimes bad publicity is far better than none—but perhaps not in this case?
Regarding designating respective parts of the cinema as the “circle” and the “stalls,” on the licensing plans, the 1st floor foyer is marked as “Circle Foyer,” and the “Royal Circle” is marked as such also.
I recall purchasing a ticket in person for the old Empire 1, prior to subdivision, and was asked if I’d like to sit “upstairs” or “downstairs!”
Clearly the terms “stalls” and “circle” must be rather confusing to the average patron, and the “Luxe Recliner” and “Luxe Classic” selections on the online booking make sense, albeit quite how they will denote the respective levels on printed tickets and sign them unambiguously remains to be seen—it appears that the front row of the stalls is designated as row (A) and the front row of the Royal Circle as… row A, with only the parentheses to differentiate!
Update — last trip before the cinema reopens to the public:
I spoke to someone with GF Holding (main contractor) outside the cinema:
Believe it or not, both screenings on the 20th were cancelled because the licensing person from Westminster was ill! They will be back tomorrow but Odeon didn’t want to run the risk of it not being signed off (though no problems are anticipated.)
The auditorium is ready and, IIRC, was scheduled tonight for a “friends and family” preview screening.
They are working to a very tight schedule — “trust us it will be ready” for Mary Poppins on the 21st.
Work is sequenced from top down and then out the front; asked if the ground floor foyer flooring was even finished, they said that it was currently being polished, and the pavement just outside the LSQ entrance will be reinstated tomorrow.
They will be returning in January to finish up—MDF doors will be replaced with metal doors, bar surfaces added, etc.
Is it going to be “fantastic.”
Visible externally from Leicester Square:
Hoarding almost entirely removed.
Dolby Cinema sign now installed behind right side of glass box. Appears to be smaller than the one shown in the renderings.
Centre and right large format LED display module screens operating—Mary Poppins advertised on the centre screen — “DISCOVER IT IN DOLBY CINEMA.”
Foyers seem to be progressing well, albeit hard to compare to the previous visit as a much better view in is now possible. “POPCORN” sign, overhead concession screens and 2xCoca-Cola Freestyle machines could be seen in the ground level foyer. However, it looks far from complete, with wires still hanging from the ceiling!
Service yard view from Charing Cross Road:
No particular changes from previous visit, still being used for waste disposal. Discarded packaging for a 75" Samsung TV could be seen.
Innumerable workers could be seen both from Leicester Square and Charing Cross Road.
Farrat: Farrat Isolevel Tweet. This includes two photos, taken during an inspection, which show the steel frame for the IMAX auditorium’s stadia and the isolation pads used to decouple it from the concrete slab below.
Being an IMAX auditorium with a single IMAX with Laser projector, the new scaled down “Commerical Laser” version, the screen is actually 1.9:1, as is desirable for that format.
Kers: Me too. :–( If you haven’t done so, you might like to check the prices for different dates/times—if you are able to be flexible, you won’t have to pay £40 for the “best” seats in the house. I certainly don’t want to spend that much to see a film, free gift card or not!
Kers: Bad news I’m afraid—I received the following E-mail an hour ago:
“Hello,
“I’m sorry to bring you some disappointing news – our exclusive ‘dress rehearsal’ screening of The Favourite on Thursday 20 December at ODEON Luxe Leicester Square has been cancelled. […]
“We need to take a bit of extra time to complete the final works, so we have decided to cancel our preview screenings scheduled for this Thursday. […]
“We will of course refund you in full for your tickets, and will also be sending you a £25 ODEON gift card to enjoy at our new cinema, by way of apology. […]
“We’re excited to confirm that ODEON Luxe Leicester Square will be open on Friday for Mary Poppins Returns, and we hope to see you there soon.”
As the first installation of IMAX’s scaled-down “commerical” single-projector IMAX with Laser system in the UK, and one for which its planning application suggested would include a screen of “giant” proportions, I had been eager to see what could be achieved today in a “multiplex,” and decided to visit this new-build cinema on opening day, attending the first public screening programmed just after 10am.
The movie I saw was “Aquaman,” the plot of which, for me, went in one ear and out the other; however, it deserves credit for the very ambitious scale, in terms of number of locations, CGI, etc., and a high proportion of the film was “full height” (i.e. 1.9:1)—plenty of excellent source material to show off the new projection system. It was all consistently graded and grain-free.
(Incidentally, 92 minutes of the “full height” scenes are, according to the “Technical Specifications” page on IMDb, 1.43:1 at IMAX 70mm and IMAX with Laser GT venues—which—once again!—means there are no suitable venues in the UK for a full height IMAX with Laser presentation. IMDb lists only digital filming was used—Arri Alexa cameras—and so it would seem that 1.43:1 is—unexpectedly?—not yet obsolete.)
The cinema is accessed from the first floor of the extension to intu Watford; briefly, the new mall, despite having a large main atrium with curved glazed roof, is actually not fully “enclosed;” there are gaps around the roof edges, and no entrance doors—thus, no HVAC system, and, suffering from something of a “wind tunnel,” perhaps even colder and less comfortable than the surrounding streets.
The cinema’s main entrance is at first floor level, with a narrow “shop front” only; getting to main foyer/cinema level (“second floor” per the plans) is via two escalators. (A lift has also been installed.)
(I may have missed an additional foyer area just past the entrance, at first floor level, as shown on the plans; or possibly, it is not yet open? In any case, a Starbucks is included within the cinema, and I certainly don’t recall seeing one.)
The main foyer area has a full height window overlooking the new mall atrium—which makes it feel spacious, but perhaps is sub-optimal as a transition into the darker “other world” of the auditoria.
It is decorated per Cineworld’s current house style, with blue LED strips attached to column edges (though extrusions and diffusers appear to have been used, individual LEDs could very clearly be seen, rather than a smooth “linear” source), and the usual attractive black sparkle tiles, with some red tiles.
A large LED module display is angled down over the concessions counter, and another smaller vertically-oriented LED module display is situated to the left of the entrance to the corridor leading to the auditoria.
Attention to detail was lacking in some aspects of the fit-out, in particular, the grey painted surfaces are less than smooth in places, the tiled floor was slightly undulating, and compared to the “bling” levels of some other recent Cineworld foyers, it seemed like costs had been cut in this area.
The main foyer is underneath the booth and stadia of the IMAX auditorium, with this being quite obvious to anyone observant enough, and all services are left exposed, albeit painted black.
Toilets off the main foyer were nothing special, albeit as with other new Cineworlds, they feature Mitsubishi’s “Jet Towel” dryers—Made in Japan!—which as I have noted on CT before, are in my view vastly preferable to the equivilant Dyson “Airblade” product, as my hands fit in them without it being very difficult to touch the dryer’s surfaces!
Auditoria 7-9 are accessed one level up from 1-6; the plans show a “bar” feature; I cannot confirm this as I did not visit that part of the cinema.
Owing to a signal failure, one of the trains I took to get to Watford had been delayed, and I arrived at the cinema just in time for the performance—only to be told by a member of staff that the electronic ticketing machines were not working. I thus had to queue up at the concessions counter, with several people ahead in the queue, which proceeded slowly as the new staff were still being trained.
On approaching “ticket tear,” I was informed that there were “teething problems” with the IMAX system and to wait in the foyer; that they were “on the phone” to IMAX. Patrons were simply left standing in the main foyer, with no seating available. It was later announced that several technicians were busy trying to get the system working.
Intermittent rumbling sounds could be heard in the main foyer, which, as mentioned, is under the stadia of the IMAX.
About 35 minutes after the scheduled programme time, it was announced that the auditorium was ready; on entering the auditorium, the main feature had already started. A couple of minutes later, the screening came to an abrupt halt with house lights raised and sidewall lights turned on, and the manager came in to tell patrons that “we are restarting the film… Canada had started the film without realising that there was a queue of people waiting…”—suggesting that the fault was rectified remotely by IMAX’s Network Operations Centre in Mississauga? I also can’t help but wonder if the daily auto-recalibration hadn’t been performed in time.
All adverts and trailers were skipped, and the presentation started with the IMAX “countdown” trailer, straight into the main feature.
Lest this come across as being critical of an extremely shambolic operation, two ticket vouchers (seemingly unrestricted as to Cineworld location or format) were handed to each patron in the IMAX auditorium, and the staff were very helpful and polite. As you’d expect from a newly opened cinema, it was also spotlessly clean throughout—but I should add that the main foyer floors were being mopped whilst I waited for the IMAX to be ready.
Onto the IMAX auditorium. A member of staff informed me that the screen is 22m (~72ft.) wide (incidentally, also, that all auditoria are equipped with laser light source projection—and it is not the first UK Cineworld location where this is the case.) The screen height as drawn on the relevant cross sectional plan (see above link) is ~11.6m, as expected for a 1.9:1 ratio screen of 22m width.
Based on the above, the screen is ~22mx11.6m (~72ft.x38ft.) The screen is not quite wall-to-wall.
The auditorium depth is approximately within the classic IMAX screen width to last row requirements of no more than 1x screen width, and, the 22m size firmly meets that aspect of the Giant Screen Cinema Association (GSCA) requirements for “giant screens.”
The auditorium still smelt “new,” and the black leather Lino Sonego seating, with red headrests, was comfortable, and legroom was very good. The rectangular sidewall features, lit with red concealed lighting, are unimaginative, and the current quasi-random layout IMO displeasing, but at least restrained compared to the sidewalls being adorned with the Cineworld “star” logo.
HVAC appeared to be inaudible, and certainly was not heard during the feature; nor was any leakage audible from other auditoria. A consistent comfortable temperature was maintained throughout the performance.
Overall, it felt “premium” quality.
At each side of the vomitorium corridor, guideway strips were lit throughout the performance, presumably using fibre optic lighting; they were not visible from my seating position. The ceiling downlights were well dimmed although they could be slightly distracting; all light fades were smooth.
The projection system: As mentioned, this is the first installation of the new “scaled-down” commerical IMAX with Laser single projector system; this supports 1.9:1 only, c.f. the existing dual-projection “GT” system intended for the largest venues, as a possible replacement for the 15/70 projectors, which supports 1.43:1 also.
3D glasses were marked with “IMAX with Laser;” unlike those that I have used over at Leicester Square, there is no reference to Dolby patents being licensed. (The glasses are returned at the end of the performance, being that the lenses for “wavelength multiplexed” 3D systems, notching out the unwanted wavelengths for each eye, are more expensive than types for polarised systems, e.g. Real-D.)
Obviously, no moveable masking is installed; although the black levels were slightly higher than expected, it was not overly missed for letterboxed “scope” scenes, with the 3D glasses cutting light levels down. The black sidewalls were also effective, being all but invisible with 3D glasses on; I am not keen on “rectangular” auditoria with sidewalls at right angles to the screen, preferring splayed walls—with a “wall-to-wall” screen, one becomes overly aware of the sidewalls and it feels “heemed in”—but it was acceptable in this case. However, reflection levels off the ceiling tiles were higher than is desirable.
There also seemed to be some slight clipping of near-black level detail, and with the 3D glasses on, the picture did not seem to be quite as bright as might be expected. Additionally, there was some odd motion “judder,” suggesting the possible use of a frame interpolation system that was not working quite correctly, and on one scene with a waterfall in the distance, there appeared to be odd blocking artifacts—puzzling, since presumably IMAX’s IDF “superset” of DCP format uses the same motion-JPEG2000 compression, and at the bit-rates used, I would expect it to be more or less lossless. Perhaps these issues might be fixed in a firmware/software update?
Otherwise, the picture was excellent, with full on “neon” luminous colours. It was perhaps not as “smooth” as the dual-projection system—albeit the benefits in that respect ought to occur with 2D content, where IMAX’s dual-projection system, at 4K, projects—essentially—a lower resolution image with one projector, and a higher resolution image with the other, to produce an improved “seamless” image; this method attempts to fill in the gaps between each DLP mirror.
There may have been some slight barrel distortion to the bottom edge of the screen, although I can’t be sure; the centre-to-edge brightness uniformity was good, but not perfect.
The mid-auditorium seat that I chose was a bit lower than I had expected, in relation to the screen, but the distance seemed “just right.”
With nit-picking out of the way, otherwise, the picture was excellent, with luminous “neon” colours achieved, and appeared to be in the same ballpark as the GT IMAX with Laser system at Leicester Square. The screen size is, of course, not as “massive” in scale but nevertheless full height scenes with strong motion definitely felt like IMAX, and some may even consider it to be more comfortable.
There really isn’t anything more to say—unless I enumerate all the things that it did right.
IMAX’s 12 channel system is of course used, albeit it seems unlikely that this installation supports the “Voice of God” upper centre channel.
The system appeared to be playing at “reference” level, with peak low frequency effects being full-on visceral—literally “seat-shaking” and “chest-pounding”—good or bad, depending on one’s point of view! Unfortunately, the bass did have a “one note” quality, and didn’t seem to be as smooth as that achieved at the Cineworld (Empire) Leicester Square IMAX—it seems plausible that this was due to the near-square shape of the auditorium, albeit its >20m width and depth are greater than the wavelength of sound at 20Hz.
Excellent surround imaging was achieved, and the system seemed to have been very well calibrated and EQ’d; e.g. it was never too bright or too dull. However, it did sound somewhat strained at peak levels, with a loss of clarity.
Compared to Leicester Square, the Watford IMAX does have the benefit that reverberation time is very much better controlled; no discrete reflections—reverb, slap echos, etc.—could be heard.
As a total package, then, this cinema is not quite right—albeit I may have missed the first floor level foyer, and upper level bar. However, excepting that I arrived just after opening on the first day that this location was open to the public, customer service was very good, with enthusiastic staff, and a big thumbs up for the goodwill gesture of supplying two free ticket vouchers. The IMAX is, outside of the best “GT” venues, first rate.
A few corrections to the Cinema Treasures description:
Watford is not strictly in Greater London (as in the “political” GLA area)—but Hertfordshire.
The cinema does not include a 4DX nor D-BOX-equipped auditorium.
Access to the cinema is from the first floor of the mall extension; however, the bulk of the scheme—i.e. main foyer and auditoria—is at “second floor” level.
Plans for the cinema are available on Watford Borough Council’s site within planning applications for the Charter Place redevelopment/intu Watford extension scheme—the most relevant one is perhaps the 2016 variation application.
The relevant documents to the cinema include:
APPROVED PROPOSED SECOND FLOOR/CINEMA LEVEL 1 PLAN
Remainder of the blue LED linear strips to façade now on, “halo” lighting to right Odeon sign also (above former “Studios” entrance.)
Gold coloured cladding fitted to canopy, numerous LED “pip” (?! — as the planning application refers to them?) installed to the soffit and working.
“Band” of LED display modules to canopy fascia installed and operating, very bright, the centre section currently permanently reads “ODEON LUXE LEICESTER SQUARE HOME OF PREMIERS.” The two setback sections to the left and right of this alternate between left reading “NOW OPEN” (sic) and something else (can’t remember,) and the right, “SCREENS 2-5” and something to do with Costa coffee. Looks very good, with a nice choice of typeface being used.
Site is buzzing away with activity, with central sections of the hoarding removed, workmen spilling out into the square for breaks and materials simply left in front. Numerous containers for a Flowcrete 2-part resin flooring system could be seen (presumably for back-of-house areas, e.g. the “food prep” area in the former rear stalls.)
Portakabin in front of former “Studios” entrance moved from first floor level, “door” opening in hoarding for access.
I overheard a worker saying that the seats weren’t in yet, albeit I am not sure if by this he meant the main auditorium or the former “Studios.”
Difficult to see inside; however, the ground floor foyer appears to be unfinished; wire bundles still hanging from the ceiling. The circle foyer appears now to have its ceiling in with general lighting working.
The service yard/access from Charing Cross Road was also active, the Portakabin and hoarding having been removed. At the time of my visit, at least 9 workers in or just outside the service yard, disposing of site waste, and a grinder (or similar?—sparks flying!) was being used in the yard. Visible through an open door at above ground level were yet more bundles of wires could be seen hanging from the ceiling.
Hopefully, I will be able to do add more report to CT just before opening day.
A further article on the refurbishment has been published on Pocket-lint; it appears that they had a tour of the site on the same day as other members of the press.
Key points:
Large amounts of asbestos were removed; “an architect hinted [that this] had delayed the project.”
Repeats the claim that 70 tonnes of steelwork has been added, stating that this was “to strengthen the buildings and ceilings”[?]—also to carry the load of the numerous speakers for Dolby Atmos.
The 10 miles of cabling noted in another article are here stated to be “super-thick speaker cable.”
“Full height” scaffolding in the auditorium had only been taken down the day before the author visited the site (3 weeks before opening.)
Oscar’s Bar floor raised [meaning parts of the circle foyer?] to accommodate a 6ft. high steel girder which blocked a new sloped ramp into the auditorium.
Dolby was involved with the project from the start, planning for the Atmos installation being particularly challenging due to the balcony and auditorium shape.
To isolate the auditorium acoustically from Alhambra House, which has been converted to a hotel, a “steel box was constructed behind the screen that’s a room within a room.” [?]
Dual modified Christie laser projectors, “completely bespoke.“[Whatever that means?]
Porthole glass “specific to Dolby Cinema.”
New food and beverage ordering via phone, “at-seat service” for some patrons. [Sigh!]
Work in December continues around the clock, with “200 workers on site.”
My first visit to OLS was during 1971 and air conditioning had already replaced the theatre’s incorporated plenum system (whose main intake/outtake grilles were behind the mountings for the golden ladies). I was a member of the audience then and sat towards the front of the stalls.
Just looking at the old “Wonders of the Super-Cinema” diagram—it makes reference to “washing and heating plant for air conditioning,” just under the front rows of the stalls. I’m assuming, then, that at the time of an opening an old “air washer” system was used for cooling (which, of course, doesn’t help with humidity!) rather than a “condensing” system.
The diagram also shows return ducts under the seating; at least at stalls level, I suspect that is no longer there or disused?
Any information that you have to offer on the changes made to the air conditioning over the years would be most appreciated.
The air con. has always seemed extremely “soft” and never struck me as intrusive even when the theatre has been dark during mornings.
My recollection is that the HVAC system/air conditioning noise wasn’t “intrusive,” but was audible as a slight “hiss”/“rumble.” I have visited auditoria in which the air conditioning seemed to be inaudible—at least going back to the original THX standard, it was part of the requirements for certification.
The rationale was to ensure that it didn’t “mask” low-level sounds in quiet scenes; alas, IME, this actually does not work with an audience; instead, in quiet scenes, every slight sound made by the audience can be heard, even someone many rows away taking a sip of a drink or adjusting body position in their seat!
Aside from this, I find a slight air conditioning sound quite relaxing, and so it doesn’t concern me. However, I suspect that, in keeping with the improved acoustic control and isolation that’s been added to the OLS, as a “flagship” Dolby Cinema site, HVAC background levels may be brought further down to “inaudible” levels. (I’m not sure what the requirements are for a “Dolby Cinema,” but certainly high standards were specified in older guidelines from Dolby as well as SMPTE recommendations.)
I remember seeing “Ryan’s Daughter” on the ELS’s vast 70mm screen and being taken aback by the “thumpity thump” coming up through the floor while Sarah Miles wandered over the breathtaking sands of the Dingle peninsular and the music on the soundtrack was relatively soft. I wondered at the time what David Lean might have thought!
One can only imagine that he would have been, at best, most unimpressed!
Improved sound insulation could well have been incorporated in the twinning of ELS’s 1962 auditorium as well as new floor surfaces and the casino below likely has background music and, usually, much chatter and general activity on its side. The odd distant explosions or roars of space craft are probably just taken to be part of the overall noise.
I don’t think any isolation was added to the concrete slab between the cinema and casino during the IMAX conversion, unless one counts the addition of the new stadium seating structure in the IMPACT/Superscreen. With the dividing wall between the two auditoria “floating” off the floor and supported by the roof girders, presumably all the screen frame supporting the front speakers behind is isolated from the floor, stopping direct mechanical transmission of vibrations.
The former rear stalls down to the screen were definitely screeded—presumably some minor relevelling occurred as, behind the floor “cove” (?), on the left/right side, down to the screen bottom, three shallow steps can be seen—photo.
Overlaying the licensing plans post-IMAX conversion with the previous licensing plans for Empire 1 suggests these three steps are in the exact same location as the fourth to second to last rows of the former stalls. (The screen centre being more than 8 rows back into the former stalls.)
A problem post-IMAX conversion has been that, as the screen speakers/subwoofers were moved closer to the stadia/former circle, every “explosion” could be heard in the foyer underneath, IIRC to the point of the structure shaking! I’m not sure if an attempt to tame this was made in Cineworld’s foyer refurbishment.
Trip to Leicester Square today—OLS refurbishment update—externally visible changes:
Replacement blue strip accent lighting added to façade tower—very bright and consistent linear look. Hard to believe LEDs are used—perhaps the best LED “imitation” of “neon” I’ve seen to date—and it looks far better than my recollection of the previous (even when it was fully intact and working.)
High level Odeon signage now lit.
2x lower level “large format” LED module displays reinstated.
“Glass box” now fully glazed, Odeon sign added.
View inside not possible due to glazing and temporary sheeting behind.
Photo uploaded.
Good to see the building almost “back on the road!”
antovolk: Many thanks for the photos!
As I previously mentioned, from my conversation with someone from GF Holding (main contractor) on the 19th, they will be returning in January to finish off. It appears that one of the temporary doors that they said will be replaced can be seen in your photo.
Addendum: And, after all the discussion about the use of the terms “stalls” and “circle”:
Under the “Cinema Info” tab.
To quote:
“In the Stalls and Royal Circle, our handmade Luxe recliners[…]
“The exclusive Royal Box hosts 22 sumptuous full-recliners with extra width[…]
“In the Upper Circle, our Luxe Classic seats adjust for the perfect viewing experience.”
Phew!
Another page on Odeon’s site:
History of Odeon Luxe Leicester Square.
Some new information:
Some names of royalty and stars that have visited the cinema are “etched […] into the screen entrance doors.”
(Possibly not “new” information!) “The Duchess” […] organ has an impressive 1,400 pipes controlled by five keyboards.”
Photos of the cinema under construction, “The Duchess,” and a few exterior night shots are included on the page.
SethLewis:
Absolutely—although storytelling is most effective if supported by the best use of “technology”—I trust that you wouldn’t want to watch your favourite films on your mobile phone!
The columns in the 4DX are actually between the seats and the sidewalls. From photos, this was also the case when the auditorium was originally built; however, IIRC, the sidewalls were moved in at some point? By the time I first visited the auditorium, this was not the case, and some of the seats were positioned “behind” the columns!
The 4DX installation needs all the space it can get to be shoehorned in, with the “environmental effects” gear between the columns and the sidewalls, the suspended ceiling being omitted in those areas.
FanaticalAboutOdeon: Many thanks for your detailed post on the “plenum”-type systems used in earlier times.
Thank goodness I never had to experience “smoke-filled” auditoria—it sounds like enough to make one stay at home! Of course, it does explain why systems with high air change rates were needed.
Thanks to Google’s 3D aerial imagery, I’m assuming that the left one can be seen just behind the bend in the rooftop ducts on the adjacent property:
Google Maps—3D View of the OLS
It would seem that the right one must have been blocked when the “Mezzanine” block was built.
I’m slightly surprised that you say that the OLS did not originally include full air conditioning; certainly the Empire had a “Carrier” system when it first opened.
Remarkably, a CIBSE Heritage Group newsletter includes a photo of the “British Thomson-Houston 200 TR water-vapour refrigeration machine […] installed [in the OLS] in 1937.”
(P.S. For the sake of completeness!—details of what, presumably, are the current rooftop chiller units are available in a 2010 planning application.)
FanaticalAboutOdeon:
Perhaps I shouldn’t have used the word “clearly!”
To you, or I, and perhaps anybody reading this, the idea that the terms “stalls” and “circle” could cause confusion might seem absurd. The only way of finding out the answer with reasonable certainty would be to conduct a formal survey!
At the Empire Leicester Square, the two seating sections in the 1962 auditorium were, in my experience, never referred to as “upstairs” and “downstairs.” Certainly, when booking tickets online, they were referred to as “stalls” and “circle,” and the same is true of the E-tickets that I still have in my E-mailbox, the last being couple of years before the conversion.
(I’m not sure why there are no saved E-tickets from 2013; I must have decided that paying the online booking fee was pointless as the auditorium was invariably so empty that there was no need to book in advance!)
So, given that a member of staff, pointing to a seating diagram which, IIRC, was marked “stalls” and “circle” referred to them as “upstairs” and “downstairs” suggests, perhaps, that other patrons were confused. Incidentally, I was taken aback by this, and responded with “stalls!”
Be it that “circle” and “stalls” are, strictly, “incorrect” in the case of the 1962 Empire, and other similarly configured auditoria, and as the first row of its stadia was (and is!) elevated above stalls level, one would always have to climb a few steps to access the seating (hence the accessible spaces in the IMAX are in the single row in front of the stadia,) “upstairs” and “downstairs” may well be equally “incorrect,”—but they don’t sound anywhere near as “classy!”
I notice that the renderings of the OLS circle foyer include a sign marked “CIRCLE BOX” by the new central vomitory entrance, and, obviously, as I keep using the terms “Stalls,” “Circle,” and for that matter “Royal Circle,” I’m keen for continuity in this respect.
It is far from an ideal configuration for a cinema (or a theatre for that matter?) in terms of providing an optimal experience for patrons.
However, it is unfortunate than a “black box” auditoria have become the standard for new builds and refits, but it seems that decorative features are now largely confined to foyer/lobby areas. There really is nothing stopping auditoria from having suitably dark walls (to maximise projected image contrast) and the substantial acoustic treatment needed whilst having a more imaginatively finished interior—certainly the standard stretched fabric systems (that hide the acoustic absorption underneath) are very flexible (the profiles that are used to hold/tension the fabric can be used to form different shapes,) and modern LEDs provide numerous options for a fully conceived approach to lighting.
Exactly! I had a conversation with someone that went something along these lines:
“I’ve booked tickets for the reopening day of the Odeon Leicester Square.” “Aren’t they £40? It’s not aimed at people like myself.” “No, I paid much less than that on the first day, and the ticket prices vary depending on where you sit.” “Oh, but £40? Not for me…(!)”
Not only were there a spate of press coverage when the ticket pricing was first revealed publically, but this same figure is being repeated in later articles!
On the other hand, I am not the only person that took photos outside the OLS as the refurbishment was being finished for reopening!
It is, perhaps iconic more than any other cinema in the UK, and its dominance over the square draws attention unlike any other.
By the sounds of it, this system is due to be rolled out to other locations?
I’m willing to pay as much as £30.75 on occasion given, as you say, the high cost of preserving and upgrading the OLS (£10-15m was publically disclosed as the projected cost before the works had been contracted out; have you any idea of the actual magnitude of cost incurred?)
BTW, in the mid-1990s, the cost of entry for a weekday matinee seat was between £4-6 depending on the seating area chosen—which, given inflation, equates to about double that in today’s money.
joeswin: Thanks for the link!
To summarise the “new” information according to the article, with comments:
The “screen” weighs 25 tonnes, and is suspended from the “ceiling.” This is more than double the weight of the screen frame of the IMAX across the square, so I assume this includes everything (speakers and whatever is required to allow the frame to move back and forth.)
“If you’re sitting in the top tier then you’ll see some nice wood panelling, which also has the effect of insulating sound waves.” This was shown in the stalls also in the renderings, and presumably its primary intended function is not to “insulate” the auditorium but rather to absorb sounds within, reducing wall reflections. As I mentioned previously, my guess is this is an “acoustic wood panel”-type product.
Each of the 400 speakers are “controlled individually”—I wonder quite what is meant—whether “active” line arrays, which allow for the dispersion pattern to be altered by changing the input to each set of drivers, are used? If this is the case, it would be one incredibly expensive installation for a cinema.
Background sound levels in the auditorium controlled to NC25—that is, very quiet indeed!
Photos have now been uploaded.
Kers: I don’t know if they are the “highest ever admission charges” in the UK; however, excluding special occasions as gala charity premieres, or “Gallery”-type tickets with food/beverages included, I imagine you are quite correct.
From talking to those with no special interest in cinemas, the “£40” ticket price seems to have stuck—not only did it garner attention via “social media” just as soon as bookings were made available on Odeon’s website, but it seems to have “infected” the “echo chamber” that is the domain of the general media’s “lazy” journalists!
No doubt this has provided much “free” publicity, and sometimes bad publicity is far better than none—but perhaps not in this case?
Regarding designating respective parts of the cinema as the “circle” and the “stalls,” on the licensing plans, the 1st floor foyer is marked as “Circle Foyer,” and the “Royal Circle” is marked as such also.
I recall purchasing a ticket in person for the old Empire 1, prior to subdivision, and was asked if I’d like to sit “upstairs” or “downstairs!”
Clearly the terms “stalls” and “circle” must be rather confusing to the average patron, and the “Luxe Recliner” and “Luxe Classic” selections on the online booking make sense, albeit quite how they will denote the respective levels on printed tickets and sign them unambiguously remains to be seen—it appears that the front row of the stalls is designated as row (A) and the front row of the Royal Circle as… row A, with only the parentheses to differentiate!
Update — last trip before the cinema reopens to the public:
I spoke to someone with GF Holding (main contractor) outside the cinema:
Believe it or not, both screenings on the 20th were cancelled because the licensing person from Westminster was ill! They will be back tomorrow but Odeon didn’t want to run the risk of it not being signed off (though no problems are anticipated.)
The auditorium is ready and, IIRC, was scheduled tonight for a “friends and family” preview screening.
They are working to a very tight schedule — “trust us it will be ready” for Mary Poppins on the 21st.
Work is sequenced from top down and then out the front; asked if the ground floor foyer flooring was even finished, they said that it was currently being polished, and the pavement just outside the LSQ entrance will be reinstated tomorrow.
They will be returning in January to finish up—MDF doors will be replaced with metal doors, bar surfaces added, etc.
Is it going to be “fantastic.”
Visible externally from Leicester Square:
Hoarding almost entirely removed.
Dolby Cinema sign now installed behind right side of glass box. Appears to be smaller than the one shown in the renderings.
Centre and right large format LED display module screens operating—Mary Poppins advertised on the centre screen — “DISCOVER IT IN DOLBY CINEMA.”
Foyers seem to be progressing well, albeit hard to compare to the previous visit as a much better view in is now possible. “POPCORN” sign, overhead concession screens and 2xCoca-Cola Freestyle machines could be seen in the ground level foyer. However, it looks far from complete, with wires still hanging from the ceiling!
Service yard view from Charing Cross Road:
No particular changes from previous visit, still being used for waste disposal. Discarded packaging for a 75" Samsung TV could be seen.
Innumerable workers could be seen both from Leicester Square and Charing Cross Road.
Photos—to follow.
LARGE_screen_format: You’re welcome. :–)
A few links:
Cineworld Blog Post: “Cineworld Watford is now open!”
Watford Observer, 1st December 2018: “Inside Watford intu centre’s new Cineworld IMAX cinema.” A gallery of photos taken as the fit-out was nearing completion is included.
Farrat: Farrat Isolevel Tweet. This includes two photos, taken during an inspection, which show the steel frame for the IMAX auditorium’s stadia and the isolation pads used to decouple it from the concrete slab below.
Swindon Interiors — Cineworld Watford. Announcement of fit-out contract award (photo on page NOT of Cineworld Watford.)
Gala opening video. Dreadful!
Being an IMAX auditorium with a single IMAX with Laser projector, the new scaled down “Commerical Laser” version, the screen is actually 1.9:1, as is desirable for that format.
Kers: Me too. :–( If you haven’t done so, you might like to check the prices for different dates/times—if you are able to be flexible, you won’t have to pay £40 for the “best” seats in the house. I certainly don’t want to spend that much to see a film, free gift card or not!
Kers: Bad news I’m afraid—I received the following E-mail an hour ago:
“Hello,
“I’m sorry to bring you some disappointing news – our exclusive ‘dress rehearsal’ screening of The Favourite on Thursday 20 December at ODEON Luxe Leicester Square has been cancelled. […]
“We need to take a bit of extra time to complete the final works, so we have decided to cancel our preview screenings scheduled for this Thursday. […]
“We will of course refund you in full for your tickets, and will also be sending you a £25 ODEON gift card to enjoy at our new cinema, by way of apology. […]
“We’re excited to confirm that ODEON Luxe Leicester Square will be open on Friday for Mary Poppins Returns, and we hope to see you there soon.”
Good news, and from my POV, unexpected, as I hadn’t been overly optimistic about the prospect of listed status being granted!
Historic England Listed Building Entry—extensive information.
ScreenX has been added to Cineworld Wandsworth, open as of the 14th December 2018.
As the first installation of IMAX’s scaled-down “commerical” single-projector IMAX with Laser system in the UK, and one for which its planning application suggested would include a screen of “giant” proportions, I had been eager to see what could be achieved today in a “multiplex,” and decided to visit this new-build cinema on opening day, attending the first public screening programmed just after 10am.
The movie I saw was “Aquaman,” the plot of which, for me, went in one ear and out the other; however, it deserves credit for the very ambitious scale, in terms of number of locations, CGI, etc., and a high proportion of the film was “full height” (i.e. 1.9:1)—plenty of excellent source material to show off the new projection system. It was all consistently graded and grain-free.
(Incidentally, 92 minutes of the “full height” scenes are, according to the “Technical Specifications” page on IMDb, 1.43:1 at IMAX 70mm and IMAX with Laser GT venues—which—once again!—means there are no suitable venues in the UK for a full height IMAX with Laser presentation. IMDb lists only digital filming was used—Arri Alexa cameras—and so it would seem that 1.43:1 is—unexpectedly?—not yet obsolete.)
The cinema is accessed from the first floor of the extension to intu Watford; briefly, the new mall, despite having a large main atrium with curved glazed roof, is actually not fully “enclosed;” there are gaps around the roof edges, and no entrance doors—thus, no HVAC system, and, suffering from something of a “wind tunnel,” perhaps even colder and less comfortable than the surrounding streets.
The cinema’s main entrance is at first floor level, with a narrow “shop front” only; getting to main foyer/cinema level (“second floor” per the plans) is via two escalators. (A lift has also been installed.)
(I may have missed an additional foyer area just past the entrance, at first floor level, as shown on the plans; or possibly, it is not yet open? In any case, a Starbucks is included within the cinema, and I certainly don’t recall seeing one.)
The main foyer area has a full height window overlooking the new mall atrium—which makes it feel spacious, but perhaps is sub-optimal as a transition into the darker “other world” of the auditoria.
It is decorated per Cineworld’s current house style, with blue LED strips attached to column edges (though extrusions and diffusers appear to have been used, individual LEDs could very clearly be seen, rather than a smooth “linear” source), and the usual attractive black sparkle tiles, with some red tiles.
A large LED module display is angled down over the concessions counter, and another smaller vertically-oriented LED module display is situated to the left of the entrance to the corridor leading to the auditoria.
Attention to detail was lacking in some aspects of the fit-out, in particular, the grey painted surfaces are less than smooth in places, the tiled floor was slightly undulating, and compared to the “bling” levels of some other recent Cineworld foyers, it seemed like costs had been cut in this area.
The main foyer is underneath the booth and stadia of the IMAX auditorium, with this being quite obvious to anyone observant enough, and all services are left exposed, albeit painted black.
Toilets off the main foyer were nothing special, albeit as with other new Cineworlds, they feature Mitsubishi’s “Jet Towel” dryers—Made in Japan!—which as I have noted on CT before, are in my view vastly preferable to the equivilant Dyson “Airblade” product, as my hands fit in them without it being very difficult to touch the dryer’s surfaces!
Auditoria 7-9 are accessed one level up from 1-6; the plans show a “bar” feature; I cannot confirm this as I did not visit that part of the cinema.
Owing to a signal failure, one of the trains I took to get to Watford had been delayed, and I arrived at the cinema just in time for the performance—only to be told by a member of staff that the electronic ticketing machines were not working. I thus had to queue up at the concessions counter, with several people ahead in the queue, which proceeded slowly as the new staff were still being trained.
On approaching “ticket tear,” I was informed that there were “teething problems” with the IMAX system and to wait in the foyer; that they were “on the phone” to IMAX. Patrons were simply left standing in the main foyer, with no seating available. It was later announced that several technicians were busy trying to get the system working.
Intermittent rumbling sounds could be heard in the main foyer, which, as mentioned, is under the stadia of the IMAX.
About 35 minutes after the scheduled programme time, it was announced that the auditorium was ready; on entering the auditorium, the main feature had already started. A couple of minutes later, the screening came to an abrupt halt with house lights raised and sidewall lights turned on, and the manager came in to tell patrons that “we are restarting the film… Canada had started the film without realising that there was a queue of people waiting…”—suggesting that the fault was rectified remotely by IMAX’s Network Operations Centre in Mississauga? I also can’t help but wonder if the daily auto-recalibration hadn’t been performed in time.
All adverts and trailers were skipped, and the presentation started with the IMAX “countdown” trailer, straight into the main feature.
Lest this come across as being critical of an extremely shambolic operation, two ticket vouchers (seemingly unrestricted as to Cineworld location or format) were handed to each patron in the IMAX auditorium, and the staff were very helpful and polite. As you’d expect from a newly opened cinema, it was also spotlessly clean throughout—but I should add that the main foyer floors were being mopped whilst I waited for the IMAX to be ready.
Onto the IMAX auditorium. A member of staff informed me that the screen is 22m (~72ft.) wide (incidentally, also, that all auditoria are equipped with laser light source projection—and it is not the first UK Cineworld location where this is the case.) The screen height as drawn on the relevant cross sectional plan (see above link) is ~11.6m, as expected for a 1.9:1 ratio screen of 22m width.
Based on the above, the screen is ~22mx11.6m (~72ft.x38ft.) The screen is not quite wall-to-wall.
The auditorium depth is approximately within the classic IMAX screen width to last row requirements of no more than 1x screen width, and, the 22m size firmly meets that aspect of the Giant Screen Cinema Association (GSCA) requirements for “giant screens.”
The auditorium still smelt “new,” and the black leather Lino Sonego seating, with red headrests, was comfortable, and legroom was very good. The rectangular sidewall features, lit with red concealed lighting, are unimaginative, and the current quasi-random layout IMO displeasing, but at least restrained compared to the sidewalls being adorned with the Cineworld “star” logo.
HVAC appeared to be inaudible, and certainly was not heard during the feature; nor was any leakage audible from other auditoria. A consistent comfortable temperature was maintained throughout the performance.
Overall, it felt “premium” quality.
At each side of the vomitorium corridor, guideway strips were lit throughout the performance, presumably using fibre optic lighting; they were not visible from my seating position. The ceiling downlights were well dimmed although they could be slightly distracting; all light fades were smooth.
The projection system: As mentioned, this is the first installation of the new “scaled-down” commerical IMAX with Laser single projector system; this supports 1.9:1 only, c.f. the existing dual-projection “GT” system intended for the largest venues, as a possible replacement for the 15/70 projectors, which supports 1.43:1 also.
3D glasses were marked with “IMAX with Laser;” unlike those that I have used over at Leicester Square, there is no reference to Dolby patents being licensed. (The glasses are returned at the end of the performance, being that the lenses for “wavelength multiplexed” 3D systems, notching out the unwanted wavelengths for each eye, are more expensive than types for polarised systems, e.g. Real-D.)
Obviously, no moveable masking is installed; although the black levels were slightly higher than expected, it was not overly missed for letterboxed “scope” scenes, with the 3D glasses cutting light levels down. The black sidewalls were also effective, being all but invisible with 3D glasses on; I am not keen on “rectangular” auditoria with sidewalls at right angles to the screen, preferring splayed walls—with a “wall-to-wall” screen, one becomes overly aware of the sidewalls and it feels “heemed in”—but it was acceptable in this case. However, reflection levels off the ceiling tiles were higher than is desirable.
There also seemed to be some slight clipping of near-black level detail, and with the 3D glasses on, the picture did not seem to be quite as bright as might be expected. Additionally, there was some odd motion “judder,” suggesting the possible use of a frame interpolation system that was not working quite correctly, and on one scene with a waterfall in the distance, there appeared to be odd blocking artifacts—puzzling, since presumably IMAX’s IDF “superset” of DCP format uses the same motion-JPEG2000 compression, and at the bit-rates used, I would expect it to be more or less lossless. Perhaps these issues might be fixed in a firmware/software update?
Otherwise, the picture was excellent, with full on “neon” luminous colours. It was perhaps not as “smooth” as the dual-projection system—albeit the benefits in that respect ought to occur with 2D content, where IMAX’s dual-projection system, at 4K, projects—essentially—a lower resolution image with one projector, and a higher resolution image with the other, to produce an improved “seamless” image; this method attempts to fill in the gaps between each DLP mirror.
There may have been some slight barrel distortion to the bottom edge of the screen, although I can’t be sure; the centre-to-edge brightness uniformity was good, but not perfect.
The mid-auditorium seat that I chose was a bit lower than I had expected, in relation to the screen, but the distance seemed “just right.”
With nit-picking out of the way, otherwise, the picture was excellent, with luminous “neon” colours achieved, and appeared to be in the same ballpark as the GT IMAX with Laser system at Leicester Square. The screen size is, of course, not as “massive” in scale but nevertheless full height scenes with strong motion definitely felt like IMAX, and some may even consider it to be more comfortable.
There really isn’t anything more to say—unless I enumerate all the things that it did right.
IMAX’s 12 channel system is of course used, albeit it seems unlikely that this installation supports the “Voice of God” upper centre channel.
The system appeared to be playing at “reference” level, with peak low frequency effects being full-on visceral—literally “seat-shaking” and “chest-pounding”—good or bad, depending on one’s point of view! Unfortunately, the bass did have a “one note” quality, and didn’t seem to be as smooth as that achieved at the Cineworld (Empire) Leicester Square IMAX—it seems plausible that this was due to the near-square shape of the auditorium, albeit its >20m width and depth are greater than the wavelength of sound at 20Hz.
Excellent surround imaging was achieved, and the system seemed to have been very well calibrated and EQ’d; e.g. it was never too bright or too dull. However, it did sound somewhat strained at peak levels, with a loss of clarity.
Compared to Leicester Square, the Watford IMAX does have the benefit that reverberation time is very much better controlled; no discrete reflections—reverb, slap echos, etc.—could be heard.
As a total package, then, this cinema is not quite right—albeit I may have missed the first floor level foyer, and upper level bar. However, excepting that I arrived just after opening on the first day that this location was open to the public, customer service was very good, with enthusiastic staff, and a big thumbs up for the goodwill gesture of supplying two free ticket vouchers. The IMAX is, outside of the best “GT” venues, first rate.
A few photos to follow.
A few corrections to the Cinema Treasures description:
Watford is not strictly in Greater London (as in the “political” GLA area)—but Hertfordshire.
The cinema does not include a 4DX nor D-BOX-equipped auditorium.
Access to the cinema is from the first floor of the mall extension; however, the bulk of the scheme—i.e. main foyer and auditoria—is at “second floor” level.
Plans for the cinema are available on Watford Borough Council’s site within planning applications for the Charter Place redevelopment/intu Watford extension scheme—the most relevant one is perhaps the 2016 variation application.
The relevant documents to the cinema include:
Update from a trip to Leicester Square yesterday:
Remainder of the blue LED linear strips to façade now on, “halo” lighting to right Odeon sign also (above former “Studios” entrance.)
Gold coloured cladding fitted to canopy, numerous LED “pip” (?! — as the planning application refers to them?) installed to the soffit and working.
“Band” of LED display modules to canopy fascia installed and operating, very bright, the centre section currently permanently reads “ODEON LUXE LEICESTER SQUARE HOME OF PREMIERS.” The two setback sections to the left and right of this alternate between left reading “NOW OPEN” (sic) and something else (can’t remember,) and the right, “SCREENS 2-5” and something to do with Costa coffee. Looks very good, with a nice choice of typeface being used.
Site is buzzing away with activity, with central sections of the hoarding removed, workmen spilling out into the square for breaks and materials simply left in front. Numerous containers for a Flowcrete 2-part resin flooring system could be seen (presumably for back-of-house areas, e.g. the “food prep” area in the former rear stalls.)
Portakabin in front of former “Studios” entrance moved from first floor level, “door” opening in hoarding for access.
I overheard a worker saying that the seats weren’t in yet, albeit I am not sure if by this he meant the main auditorium or the former “Studios.”
Difficult to see inside; however, the ground floor foyer appears to be unfinished; wire bundles still hanging from the ceiling. The circle foyer appears now to have its ceiling in with general lighting working.
The service yard/access from Charing Cross Road was also active, the Portakabin and hoarding having been removed. At the time of my visit, at least 9 workers in or just outside the service yard, disposing of site waste, and a grinder (or similar?—sparks flying!) was being used in the yard. Visible through an open door at above ground level were yet more bundles of wires could be seen hanging from the ceiling.
Hopefully, I will be able to do add more report to CT just before opening day.
Photo uploaded.
A further article on the refurbishment has been published on Pocket-lint; it appears that they had a tour of the site on the same day as other members of the press.
Key points:
The article page includes a number of photos.
FanaticalAboutOdeon:
Just looking at the old “Wonders of the Super-Cinema” diagram—it makes reference to “washing and heating plant for air conditioning,” just under the front rows of the stalls. I’m assuming, then, that at the time of an opening an old “air washer” system was used for cooling (which, of course, doesn’t help with humidity!) rather than a “condensing” system.
The diagram also shows return ducts under the seating; at least at stalls level, I suspect that is no longer there or disused?
Any information that you have to offer on the changes made to the air conditioning over the years would be most appreciated.
My recollection is that the HVAC system/air conditioning noise wasn’t “intrusive,” but was audible as a slight “hiss”/“rumble.” I have visited auditoria in which the air conditioning seemed to be inaudible—at least going back to the original THX standard, it was part of the requirements for certification.
The rationale was to ensure that it didn’t “mask” low-level sounds in quiet scenes; alas, IME, this actually does not work with an audience; instead, in quiet scenes, every slight sound made by the audience can be heard, even someone many rows away taking a sip of a drink or adjusting body position in their seat!
Aside from this, I find a slight air conditioning sound quite relaxing, and so it doesn’t concern me. However, I suspect that, in keeping with the improved acoustic control and isolation that’s been added to the OLS, as a “flagship” Dolby Cinema site, HVAC background levels may be brought further down to “inaudible” levels. (I’m not sure what the requirements are for a “Dolby Cinema,” but certainly high standards were specified in older guidelines from Dolby as well as SMPTE recommendations.)
One can only imagine that he would have been, at best, most unimpressed!
I don’t think any isolation was added to the concrete slab between the cinema and casino during the IMAX conversion, unless one counts the addition of the new stadium seating structure in the IMPACT/Superscreen. With the dividing wall between the two auditoria “floating” off the floor and supported by the roof girders, presumably all the screen frame supporting the front speakers behind is isolated from the floor, stopping direct mechanical transmission of vibrations.
The former rear stalls down to the screen were definitely screeded—presumably some minor relevelling occurred as, behind the floor “cove” (?), on the left/right side, down to the screen bottom, three shallow steps can be seen—photo.
Overlaying the licensing plans post-IMAX conversion with the previous licensing plans for Empire 1 suggests these three steps are in the exact same location as the fourth to second to last rows of the former stalls. (The screen centre being more than 8 rows back into the former stalls.)
A problem post-IMAX conversion has been that, as the screen speakers/subwoofers were moved closer to the stadia/former circle, every “explosion” could be heard in the foyer underneath, IIRC to the point of the structure shaking! I’m not sure if an attempt to tame this was made in Cineworld’s foyer refurbishment.
“Before and after" conversion photo slideshow.
LARGE_screen_format: You’re welcome, glad you found it interesting.
Trip to Leicester Square today—OLS refurbishment update—externally visible changes:
Replacement blue strip accent lighting added to façade tower—very bright and consistent linear look. Hard to believe LEDs are used—perhaps the best LED “imitation” of “neon” I’ve seen to date—and it looks far better than my recollection of the previous (even when it was fully intact and working.)
High level Odeon signage now lit.
2x lower level “large format” LED module displays reinstated.
“Glass box” now fully glazed, Odeon sign added.
View inside not possible due to glazing and temporary sheeting behind.
Photo uploaded.
Good to see the building almost “back on the road!”
HowardBHaas: Thanks for the links.
Wider rendering of the 2008 proposed “amorphous blob.”
Update: Had a look around the outside of the building again today—nothing of note externally visible since my last update.