Radio City Music Hall
1260 6th Avenue,
New York,
NY
10020
1260 6th Avenue,
New York,
NY
10020
116 people
favorited this theater
Showing 926 - 950 of 3,323 comments
Vito: I haven’t been in the rooms since I left in 2000, but as far as I know they’re still being used for office space, although I understand a number of the offices have now been moved to the Garden. One of the projectors from Preview B is on (or was on) display on a staircase niche out at the Museum of the Moving Image in Queens.
I do have some more information for you about the “Sex and the City 2” screening. They used two digital cinema projectors with 6K lamps. Because one had an E-Fib card, and the other an F-Fib card (don’t ask!) they couldn’t run both superimposed during the show, but did have both superimposed so they had back-up. You will be pleased to note that they agree with you and ran the 35mm print from a Double-MUTT rather than a platter. They did lower the gamma on the digital copies to get a little more light on the screen — the equivalent of my having prints pulled a couple of points lighter. Since the Music Hall asn’t installed red lilght readers for analogue, only the digital track on the film could be used, but by the time they would have needed the SR track they would have lost two digital projectors and the 35mm digital track, so it wasn’t a major concern. Apparently everything looked and sounded fine.
William, I read that back then but that was 5 years ago and I wondered what the satis of the rooms are today.
vito, REndres posted some info on the screening rooms back on Mar. 24th, 2005.
I have a question for REndres or any of the people currently connected to the Hall.
There were/are two screening rooms which were used during the movie/stage show era, are they still in use and in what capacity.
thanks for the info old joe!!
Graduations this year are 5/10 NYU Steinhardt, 5/11 NYU Arts and Sciences, 5/14 School of Visual Arts, 5/17 Pratt, 5/18 NYU Polytechnic, 5/25 FIT , 5/26 Pace, 5/27 College Of New Rochelle, 6/3 Hunter, and 7/29 ASA Institute
never an empty seat at Christmas time, only at some shows from what I recall&at such high prices too, amazing!!
In the 60’s, NYC schools were closed due to a blizzard. I dragged my friend to RCMH to see “Jumbo” starring Doris Day. Due to the weather, the theater was almost empty so we had a choice of seating. It was weird since I had usually visited during holiday season to see the Glory of Easter or the Christmas Spectacular; no empty seats then. Good memories.
fashion institute (FIT)has graduation there, I played for them, what a crowd!!!the place was full, i’m pretty sure they have it there every year
pace has their graduations ther too,I filled in for Eddie Layton one year& also the college of new Rochelle had graduation there a couple of years ago, don’t know if they still do george Wesner played for them as I recall
In answer to Myron’s comment. I know that Hunter College used RCMH for their graduations. I have no idea who else might use it.
And don’t forget live shows such as Gotta Get Away. I remember a Broadway stage actress, I think her name was Allison Reed, being onstage alone, picture that, doing these little ballet grande jete leaps, for some reason or other. They also used the screen for some travel footage.
ahhhhh, those were the days!!!
When did RCMH start having school graduations on-stage? Is this something new or has it happened for a while? I passed-by last week and noticed graduates lined-up waiting outside. I was unaware that the theater was used for schools. I wonder what the fee is to rent the Hall for a graduation. My college graduation was old-fashioned back in ‘69 on the school campus.
Rob thanks so much for that, we can always count on you to articulate the facts and teach us so much. You are truly one of this sites greatest treasures
I understand what you are saying; times sure are a-changin. Things were a lot simpler in my time and I just think they have complicated things with Digital projection at Radio City.
I fully understand the industry wanting to make the switch to Digital, the cost savings are enormous. The initial expense for the new equipment pays for itself very quickly without the print costs, shipping and man hours required with film. Ad to that the fact that the new generation of film makers, and quite a few old timers as well, who look at the bottom line and the cost differential between film and digital. As time goes by more and more of the new folks who are unfamiliar with the wonders of film will think why would I want to use that? Like Vinyl records and video tape film is slowly disappearing, it’s just very hard for many of us to let go.
I would like to ask that Rob and the rest of you connected to the Music hall continue to inform us when ever film is used in any form or fashion. I for one would appreciate that very much.
We had been using video projectors in odd places from the time I started at the Hall. In this case they are doubled up on the screen so you have a 100% backup. On one of the Grammy award shows we had four video projectors on the screen at the same time from the rear projection booth. The irony is that growing up in Illinois I always heard that the Hall always ran doubled up 35mm projectors. With the exception of special shows and premieres they never did. Now it’s possible, and the image from two digital projectors can be matched electronically much more exactly than you could match 35mm projectors. In addition, the image is much brighter. I think the “Sex” projectors used 7K bulbs. The Hall uses 7K bulbs for 70mm projection but they would tend to burn 35mm film. I must say that in all the time I was at the Hall using video projection for “Image magnification” (the visual equivalent of the P.A. system) I can remember just two failures of the projectors during a performance. The server is also matched with a back-up so there’s almost 100% redundancy.
One of the problems with both film and digital projection is that the equipment in many theatres isn’t maintained and there are no projectionists left to see that it is. Thus I think the studios would rather have digital equipment brought in for premieres that they know has been kept up by the company supplying it. In many cases it’s easier to move digital equipment into place than it is to bring neglected film projecton equipment back up to spec.
Finally, I’m afraid it’s a moot point. Pictures are being shot digitally, and even when shot on film being processed digitally to create digital intermediates from which film prints are finally generated. It makes sense to keep everything in the same form. Theatres are starting to gravitate toward 4K digital projectors which should be able to generate near 70mm quality. Great strides are being made in digital quality, while film isn’t getting much attention these days since it is a “mature” medium. I’ve been told that Panavision plans no more development engineering on its film cameras, preferring to concentrate on digital. I know of one major producer who insists that his pictures be shown digitally for screenings, and film be used only as a back-up.
I hate to sound as if I’m playing “devil’s advocate”, but having worked for the last decade with state-ot-the-art (and well maintained) digital equipment, I have to say I’m a little wistful about the things I could have done at the Hall if we had the digital capability they do now. There are trade-offs of course, but I think in the next few years you’ll see digital exhibition that will be able to rival (and perhaps even exceed) the best 70mm exhibition – if there are exhibitors around who care enough about presentation quality to make it happen.
Hey Rob I have been thinking, it just seems to me that the Music Hall goes through an awful lot of trouble to present Digital projection. Dragging those projectors down to the Mwzz and setting them up there along with the potential for problems with such things as errors with the digital keys and the “robust†encryption, and the potential for trouble if the server is opened or connections are interrupted.
It just seems to me that the risks are high for failure. I know how many problems theatres are having with theses issues from my talks with the boys I know that are still in the business. Especially with Digital 3-D.
So here we are at RCMH with a rather important premiere and they are using film as the back up. My question is if why not just run the film and avoid any problems. Just deliver the 35mm print to the booth and let he boys run it as we did for so many years problem free. They even went so far as to mount the print on a platter which then made the film presentation subject to problems with speed control card failures and of course the dreaded brain wrap.
I can’t help but think since a 35mm print was used the movie could have simply been shown in 35mm, and if the people renting the space fearded the use if reel-to-reel projectuion they could have used a MUTT which is far more reliable than a platter.
Ask yourself this, how many people in that theatre even knew the movie was being projected digitally or would have noticed the difference had it been film.
A whole lot of nonsense if you ask me, between the use of the digital and running the film on a platter it’s as if they wanted something to fail.
In my day (oh no here I go again) we ran premieres and previews in 35mm or 70mm film reel to reel, and we played pictures far more important than “Sex in the City†and we did it with very little problem. No fuss no mess.
What are your thoughts?
my fondest memories were cominto the stage entrance on51st street&coming in backstage,around the curtain,out onto the stage&pushing the out button on organ console prompt until it was all the way out&firing up the old girl &listening to her breathe a couple of minutes before i’d go upstairs and begin my tour of the organ chambers to make sure there were no problems to interfere with rhe days shows,gee that was greaaaaaaaaaat!!!!
6200, 5988 5945…Why is there all this discussion about the seating capacity of the Music Hall? I will now set the record straight. I am here to unequivocally state that Radio City Music Hall has a seating capacity of one. That’s right. You read it here. One seat. It used to have two, but one of them was taken away a long time ago.
It was a lone seat in the Orchestra at the front of Aisle E, Row AA, Seat 413. Some might have looked at it as just another theater seat, albeit a very plush one. For me, it was the place where some of my happiest memories were created. From the summer of 1964 until 1979 it was my seat, the only one I occupied at the Hall. I’d sit there in awe of everything I’d be seeing in front of me. The sight behind me was just as awesome. Every time I turned around, Grandpa Joe would be there.
Grandpa Joe and I were the best of buddies. No matter what we were doing, every moment with him was special. But “special†is an inappropriate word to describe the days we went to Radio City. Those were transcendent days, far beyond special. I too, felt transcendent with what seemed like a ceaseless smile.
I reveled in all I could see, the city; the skyscrapers; the people and the noise. Emerging from the 50th Street station on the IRT Subway Line, there it was. The red neon lights on the marquee shining like a beacon. We’d arrive early enough to be among the first 100 people on line. Grandpa would send me across the street to Whelan’s Drug Store for a season-appropriate drink. I’d return to the line with a couple of Egg Creams (or Hot Chocolate) and watch as the 50th Street door to the Box Office would open and close. “Is it time yet, Grandpa?†“No, not yet, soon.†We would talk for a bit. My excitement grew as I watched the line grow along 50th Street, looking at all the people and seeing the windows heralding the current movie and stage show. Then the door would open, and stay open. “It’s time!â€
Entering the theater, I would be amazed at how quiet it seemed. The place was so big, but never overwhelming. Everything about the Music Hall looked and sounded beautiful; the décor; the seats; the lights; the movies and the glorious music. Then, at some point, I’d hear it. That tapping sound began. One, two, three and four, one, two three and four, it gets louder and louder. “Grandpa, what’s that?†“You’ll see.†One, two three and four, one, two, three and four, I still hear it. Better than that, I still feel it…
Radio City Music Hall is truly one of the Crossroads of this world. When you go there you can feel the sense of humanity that has passed through its portals, and the atmosphere is priceless. The art deco decor is the best. It was built for the masses, but fit for kings and queens. There is no finer place to go. Thank you Rockefellers, Donald Deskey, and Roxy Rothafel. In 1984 I saw the first MTV Awards show there. Madonna crawled around on stage in a wedding dress singing Like a Virgin, and Bette Midler and Dan Akroyd were the hosts. Huey Lewis, Rod Stewart, and others rocked out. It was great.
REndres, thanks for the info.
Vito: The first time platters were used in the booth was for the premiere engagement of “The Lion King”. For the initial premiere we ran a platter with a 70mm print on Machine 4, interlocked to a 35mm digital print on Machine 5. The picture came from the 70mm print, and the track was Dolby Digital on the 35mm print. Our Dolby rep rigged the CP200 so that if the digital track failed, instead of reverting to the 35mm SR track, the reversion was to the SR encoded mag tracks on the 70mm print. The other two 70mm machines were used to run the backup 70mm print reel-to-reel, with the projectors being rolled on the motor cues on the plattered 70mm print. We did a similar show with platters when we ran “101 Dalmations” at the premiere. (We did use a MUTT for the press converence for “The Lion King”.)
Rob,What a fasinating post regarding the handling of Digital media. My goodness how times have changed since I retired.
I must say I was not pleased to hear thet after all this time a platter finaly made it up to the Music hall booth. Somehow I did not mind the use of a MUTT but platters are the work of the devil :)
It makes an old mans heart feel good to know that at least the main booth was used and did not sit dark through the performance.
Please tell us more when you can I appreciate your info so very much.
Vito, I believe the digital projectors were indeed set up on the 1st Mezzanine. I think a platter was used for the back-up film in the booth. I gather it took a little while to get the 35mm machine running since the two main 70/35mm projectors are used for the 3-D opening in the Christmas Show, and the others are only used for special events like the “Sex” premiere. I’ll try to get some more information next week.
Digital cinema is indeed projected, but with higher resolution and color space than home format high definition. The most common means of delivery at the moment is to send a hard-drive in a lunch-box sized plastic case. Technicolor’s cases are orange, just like their film cases. The drives measure about 7" x 4.5" x 1.5", and may have a slip on extension, with a power connection to a power transformer and a USB output connection. The data on the drive is then input to a server either by USB or by slipping off the extension and plugging the drive directly into an opening in the server. The offload into the server takes about half to three-fourths of the time it takes to run the movie.
Once loaded into the server, the data shows up in a menue which shows all of the material being stored locally, and may include trailers as well as features. When the show is made up the traiilers may be dropped in ahead of the feature by moving a cursor on a computer screen and the total running time of the package is calculated automatically. The same drive may be used to program as many auditoriums as needed, and the shows complete with start/end and lighting cues may be programmed to start automatically.
Before the picture may be shown a digital key must be generated to tell the server that the dates and times of exhibition have been O.K.’d by the studio. The digital data is robustly encrypted, and doesn’t exist in analogue form until it is ready to be projected inside the projector. If the server is opened or connections are interrupted, the show is shut down. The “key” can be sent by e-mail, downloaded onto a memory stick and then loaded into the server.
Shows may swapped from one server in a multiplex to another, or stored in a show library if more storage capacity is needed. During operation all of the data about what is being shown on which screen can be displayed on a computer monitor along with the start and end times of the shows currently running. This makes digital presentation convenient since you don’t need a separate print for each screen.