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“It is also proposed to have a white lit band to the edge of the canopy featuring a written historical reference – ‘Oscar Deutsch Entertains Our Nation’.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Obviously, no such condition for “historical references” is among those in the advertising consent!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.
The 11 weeks figure cited is presumably for fit-out only; it seems like a pretty straightforward job, with ample internal space, excellent access, and away from neighbouring properties.
(By “straightforward,” of course, I mean relatively speaking! As I mentioned on its CT page, according to an article in Cinema Technology Magazine, as many 80 workers were on site in a single day for the Vue West End refurbishment.)
Thinking about it, having pleated fabric to floor level makes no sense, being too exposed to potential wear or outright damage. I expect it will be an acoustic wood product.
LARGE_screen_format: The early figures given for the projected cost were ~£10-15m, the actual cost of works has not been disclosed AFAIK. However, without knocking the building down and starting again, there are physical constraints.
As mentioned, the screen is marked as the same size as previous on the submitted licensing application plans, with horizontal viewing angles marked also. Revisiting the plans, given the positioning of the stalls' front row, I can’t see how a new screen could be placed ahead of the proscenium.
The screen is shown, however, as being moved to the front of the stage house compared to the existing. (c.f. 2015 licensing plans.)
The emphasis of these works, besides presumably essential to work to keep the OLS intact for the forseeable future, seems to me to be the creation of a luxury facility, including a “Royal Box” and other features (VIP rooms, keeping the stage, etc.) to cater to special events and premieres?
Perhaps you could think of it as being a “preview” of Dolby Cinema pending installation in a site that more readily allows for a larger screen and better optimised auditorium geometry, whilst keeping those who would like to hear the old “Dutchess” Compton organ happy? :–)
The Cineworld (Empire) Leicester Square IMAX is, as previously discussed, as near a “no compromise” PLF giant screen as it could be, both in size and auditorium geometry—(strikingly so) given the building’s history and physical constraints. I imagine it, and the Superscreen, will remain the only auditoria equipped with giant screens* in the heart of London’s West End—and equally, no cinema will be able to compete with the OLS as a premiere location?
(* Per the Giant Screen Cinema Association’s giant screen specifications. Whilst the IMAX of course exceeds requirements, strictly, the Superscreen actually misses out width-wise by ~1m, not being quite 70ft. wide—however, the auditorium’s geometry does place all seating under one screen width away from the screen, and otherwise the auditorium’s geometry, projection and sound should all fall within specifications.)
moviebuff82: The Odeon Leicester Square is always worth visiting but purely technically it might not be better than your local, in terms of acoustics, seat positioning relative to the screen, and screen size, which might well remain ~48ft. wide.
Good to finally get some idea of what the auditorium will look like, and interesting that it will branded as “LUXE.”
From a “heritage” standpoint, with so much missing—ceiling, and the splay walls/proscenium—indeed, all of the stage end—of the auditorium missing it’s really difficult to see what’s been (or being) restored?
It looks like the ribbed plasterwork on the circle sidewalls is being kept, presumably extending across the ceiling. I’m assuming that stretched fabric over acoustic absorption is used from there to the screen.
What looks like wooden panelling from stalls level up towards circle level is shown—possibly pleated fabric as certainly the cavity under the balcony should be heavily acoustically treated. For those who wish to see the flying ladies back, I’m thinking this could curve upwards as before to form that feature.
Not sure what to think! I suspect that, what appears to be a new darker colour scheme, will go down like a lead weight here… but renderings can be misleading!
On the bright side, the “glass box” feature on the LSQ facade looks like a fantastic addition and place to dwell before a movie.
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.
The 11 weeks figure cited is presumably for fit-out only; it seems like a pretty straightforward job, with ample internal space, excellent access, and away from neighbouring properties.
As a comparison, Empire Walthamstow also took 3 months to fit-out.
(By “straightforward,” of course, I mean relatively speaking! As I mentioned on its CT page, according to an article in Cinema Technology Magazine, as many 80 workers were on site in a single day for the Vue West End refurbishment.)
Re: Bond premieres at the OLS—
Licence to Kill – 1989.
Exterior Shot of Large Format Advert on Facade.
GoldenEye – 1995.
Tomorrow Never Dies – 1997.
The World Is Not Enough – 1999.
Casino Royale – 2006 (Empire Leicester Square and Odeon West End also.)
Quantum of Solace – 2008 (Page features a photo of the facade with “ROYAL WORLD PREMIERE” banner, and links to other exterior photos.)
N.B. Not all of the above are “world” premieres.
“Die Another Day,” “Spectre,” and “Skyfall” all premiered at the Royal Albert Hall.
Contract GF Holding has a case study on the cinema’s refurbishment and expansion.
Photos are included, oddly, one being of the IMAX auditorium (not related to those works?) yet none of the new auditoria, including the XPlus Laser.
Thinking about it, having pleated fabric to floor level makes no sense, being too exposed to potential wear or outright damage. I expect it will be an acoustic wood product.
LARGE_screen_format: The early figures given for the projected cost were ~£10-15m, the actual cost of works has not been disclosed AFAIK. However, without knocking the building down and starting again, there are physical constraints.
As mentioned, the screen is marked as the same size as previous on the submitted licensing application plans, with horizontal viewing angles marked also. Revisiting the plans, given the positioning of the stalls' front row, I can’t see how a new screen could be placed ahead of the proscenium.
The screen is shown, however, as being moved to the front of the stage house compared to the existing. (c.f. 2015 licensing plans.)
The emphasis of these works, besides presumably essential to work to keep the OLS intact for the forseeable future, seems to me to be the creation of a luxury facility, including a “Royal Box” and other features (VIP rooms, keeping the stage, etc.) to cater to special events and premieres?
Perhaps you could think of it as being a “preview” of Dolby Cinema pending installation in a site that more readily allows for a larger screen and better optimised auditorium geometry, whilst keeping those who would like to hear the old “Dutchess” Compton organ happy? :–)
The Cineworld (Empire) Leicester Square IMAX is, as previously discussed, as near a “no compromise” PLF giant screen as it could be, both in size and auditorium geometry—(strikingly so) given the building’s history and physical constraints. I imagine it, and the Superscreen, will remain the only auditoria equipped with giant screens* in the heart of London’s West End—and equally, no cinema will be able to compete with the OLS as a premiere location?
(* Per the Giant Screen Cinema Association’s giant screen specifications. Whilst the IMAX of course exceeds requirements, strictly, the Superscreen actually misses out width-wise by ~1m, not being quite 70ft. wide—however, the auditorium’s geometry does place all seating under one screen width away from the screen, and otherwise the auditorium’s geometry, projection and sound should all fall within specifications.)
moviebuff82: The Odeon Leicester Square is always worth visiting but purely technically it might not be better than your local, in terms of acoustics, seat positioning relative to the screen, and screen size, which might well remain ~48ft. wide.
antovolk: Many thanks for the heads up!
Good to finally get some idea of what the auditorium will look like, and interesting that it will branded as “LUXE.”
From a “heritage” standpoint, with so much missing—ceiling, and the splay walls/proscenium—indeed, all of the stage end—of the auditorium missing it’s really difficult to see what’s been (or being) restored?
It looks like the ribbed plasterwork on the circle sidewalls is being kept, presumably extending across the ceiling. I’m assuming that stretched fabric over acoustic absorption is used from there to the screen.
What looks like wooden panelling from stalls level up towards circle level is shown—possibly pleated fabric as certainly the cavity under the balcony should be heavily acoustically treated. For those who wish to see the flying ladies back, I’m thinking this could curve upwards as before to form that feature.
Not sure what to think! I suspect that, what appears to be a new darker colour scheme, will go down like a lead weight here… but renderings can be misleading!
On the bright side, the “glass box” feature on the LSQ facade looks like a fantastic addition and place to dwell before a movie.