Comments from CF100

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CF100
CF100 commented about Cineworld Cinema - Brighton on Mar 1, 2020 at 12:23 pm

The first Cineworld project by Earle Architects, who as Zappomatic says, have been involved with a number of Picturehouse sites.

Earle Architects – Cineworld Brighton.

The page includes a “cut-away” 3D plan of the cinema, renderings of the ScreenX and another auditoria, and the facade. Also included is a cross-sectional drawing of one auditorium, which shows the new stadia (and toilets underneath the rear end!) built off the existing sloped floor. Most rows in this auditorium are 1200mm (slightly under 4ft.) back to back.

CF100
CF100 commented about Palace Cinema on Mar 1, 2020 at 12:53 am

Lionel: Fascinating write-up and lots of technical information there, thank you.

I can’t believe the baffle wall was visible?

The 4675’s really need upgrading. A single subwoofer is certainly woefully inadequate! (Even if it’s the dual 18" type?)

Would certainly be interesting to have something of a comparison between the old 4675’s and more recent speakers. Wonder if they still have the old THX crossover or if the cards were removed when the certification was dropped; or perhaps “aftermarket” replacement cards were installed?

CF100
CF100 commented about Fulham Road Picturehouse on Mar 1, 2020 at 12:39 am

The “Fulham Road Picturehouse is OPEN!” video is also available on YouTube.

Hmm. The foyer/lobby areas are something of a mixed bag. I don’t get this “copper piping” decor… and I wonder what it will look like when it’s not shiny and new?

As for the auditoria, the blue upholstered seating looks very nice and the “legs” (as Terry refers to them) to the sides of certain screens are better than nothing.

However, the wall finishes aren’t obvious from the video, and the “bare” ceilings not only look rough, but need acoustic treatment…

Whatever one might think of the revamped OLS, for example, much effort went into stopping sound from getting in (soundproofing) and stopping sound from bouncing around the auditorium (absorption)—including the cherry veneered wooden panelling (which is actually “perforated” and hides yet more acoustic absorption placed behind.)

It certainly looks like a great deal more effort has gone into the “menu” (and I have no objection to that per se—cinemas certainly need to be “places” rather than simply shuffling patrons in and out of auditoria) rather than the provision of technically excellent standards of presentation, and I can’t imagine paying “premier screen” West End prices to see a film here…

Perhaps Cineworld, with their rollout of laser light source systems, have at least upgraded the projection…?

CF100
CF100 commented about IMAX: The Ronson Theatre on Feb 29, 2020 at 10:08 pm

Closed as of 2nd February 2020.

Per the above linked press release, it is being refurbished and will reopen in the Summer with an IMAX with Laser (dual, aka “GT” version) projection system, somewhat unusually, keeping the existent 15/70 projection.

The architect for the refurbishment is Ellis Williams Architects.

It’s clear from the rendering shown on the linked page that the auditorium will have a refreshed look; as noted in the linked press release, all seating will be replaced and a new concessions area will be added.

Also from the linked press release: “the redevelopment has been made possible by the kind support of The Gerald and Gail Ronson Family Foundation.”

CF100
CF100 commented about Cineworld Cinema - Leicester Square on Feb 29, 2020 at 6:50 pm

PhilipWW: The unmasked areas of the screen (in scope) are not ideal but the black levels are quite low, so it is not the disaster that it might have been.

A “flat” screen can be advantageous, for one because otherwise the trailers/adverts end up letterboxed within the central “flat ratio” part of the screen. (Obviously, ideally with vertically movable masking.)

As you say, the horizontal resolution specified in DCP for “2K flat” is 1998 pixels. However, on a “scope” screen switching from “flat” to “scope” can be accomplished by simply automatically zooming the lens. (858 rather than 1080 pixels high for “2K scope.”) 2K DLP cinema chips, of course, provide 2048 horizontal pixels.

CF100
CF100 commented about Cineworld Cinema - Leicester Square on Feb 29, 2020 at 4:27 pm

Lionel: Those plans were for London and Regional Properties who are the freeholders (owners) of the whole building.

At the time the scheme to which you linked was developed, the adjacent 1-4 Leicester Square (which also happens to house the old Empire 2, now the 4DX auditorium in its basement!) was being redeveloped with the primary use being a hotel, and they had added windows on the reverse side of the building. In a nutshell, there was a “dispute” about this as L&R argued that it affected future development potential of the site, as in the windows would be overshadowed (or completely blocked!) if building higher. However, the “authorities”* sided with the owners of 1-4 LSQ, for one because there was really no evidence that any scheme to develop 5-6 LSQ (aka “The Empire”) had progressed beyond a long term wish on the part of L&R.

theatreofvarieties confirmed that the cinema still has ~60 years on its lease. The casino still ~10 years on its lease and various parts of it have been recently refurbished/altered. Not to mention the amount that has been spent on the cinema in recent years, and the amount (substantially over valuation) Cineworld paid to acquire LSQ and other Empire sites.

There are other constraints, including another hotel, and presumably structural issues given adjoining properties.

So, I wouldn’t expect any similar redevelopment scheme to be progressed any time soon…

(* Namely “The Planning Inspectorate” as it went to appeal. If exceptionally bored (!) see the document titled “APPEAL DECISION” in the relevant planning application documents.)

CF100
CF100 commented about Odeon London Covent Garden on Feb 3, 2020 at 7:57 pm

Lionel: Yes, I could not make out whether the surrounds had the characteristic angled baffles (fronts) of the 8330’s. I’m really not sure what speakers were standard in the “early” days of Dolby Stereo? “Local” cinemas had surround speakers that looked like they had been taken from a 1970’s “stereo centre” domestic “hi-fi” system!

I lost interest in the Empire since they turned it into an Imax theatre but looked at your Superscreen pictures out of solidarity for your own obsessive-compulsiveness. :–)

That’s very nice of you. :–)

There is nothing that can replace the magical, majestical, and unique masterpiece that was the old Empire 1, and it is probably fair to say that there never will be. At least some of its design, form and spirit lives on in the IMAX.

Cineworld’s refurbishment of the rest of venue is impressive but absolutely disrespectful of the heritage; it really is their cinema now. With the changeover to their own management, the continuity with the past (i.e. MGM->CIC->UCI->Empire Cinemas) has been further eroded, too. I wonder what happened to those old uniforms that you photographed in the manager’s office?

However… I hoped that the Superscreen info/photos might encourage you to keep some interest in cinemas as they are today. :–)

It may well be relatively “generic” in decor and lacking in the old theatrical embellishments. But… the screen is almost 70ft. wide, and the sound system is top-of-the-line and very powerful. The auditorium also has a lot of height at the screen end, which helps it to feel spacious, too. Once the main feature started, it honestly reminded me of past times in the greatest West End cinemas. :–)

My case however is improving a little bit over time, as I no longer count the seats of the theatre I’m into. I remember having counted those of the Empire in 1993, because different sources mentioned different figures.

I, too, used to do that, although I don’t think I would have attempted it in the old Empire 1. Hmm, although I may have done. :–(

I would usually try to multiply the rows by seats per row, then (where the sidewalls “splay” inwards, i.e. not a “box” shaped auditorium) compensate for the reduction in seats per row towards the screen by working out how many seats to deduct from the basic calculation.

Fortunately, with plans usually readily available (in the UK) these days thanks to the Internet, there is no need to count seats. :–) Or at least, it can be done at home, if you do not trust the seat counts given on the plans… ;–)

P.S. Counted the seats on the old Empire 1 plans, cross-checked against photos, it was definitely 1330. (688 stalls, 642 circle.)

CF100
CF100 commented about Cineworld, The Empire, Leicester Square – Superscreen - Behind Seating Red LED Modules. on Feb 2, 2020 at 5:59 pm

Addendum: A closer shot of the modules can be seen in another photo taken in the IMAX auditorium—so in RGB groups. Err… just in case anyone reading this actually cares what model they are! ;–)

(Come to think of it, an even closer shot is the one that needs to be viewed in order to see the model number.)

CF100
CF100 commented about Odeon London Covent Garden on Feb 2, 2020 at 5:05 pm

Lionel: Great photos, thanks for the links. Looks like some have only been added a year or so ago.

Wonder if Thomas Hauerslev has higher resolution versions available?

I’m afraid that I, too, cannot make out the rear speakers, despite adjusting the image in photo editing software. I can make out two “blobs” on each of the sidewalls. Is it just possible that they were JBL 8330’s, or maybe that’s being too optimistic? ;–)

Well, never mind, I must get rid of these obsessive-compulsive habits ;–) .

Never! :–) You might like to look at the photos that I’ve uploaded of the Superscreen at the Cineworld Leicester Square for some more “obsessive-compulsiveness.” ;–)

CF100
CF100 commented about Cineworld, The Empire, Leicester Square – Superscreen - Behind Seating Red LED Modules. on Feb 2, 2020 at 4:35 pm

Errata: “only all are red colour only, rather than allowing for colour mixing” should read “only all are red only, rather than additional green and blue modules, which in the IMAX allow for colour mixing.”

CF100
CF100 commented about Cineworld Cinema - Leicester Square on Jan 29, 2020 at 5:51 pm

Having not visited the “Superscreen” at this location in years—in fact, the cinema was still operated by Empire Cinemas and it was called the “IMPACT” screen—with some trepidation, I recently attended a screening in that auditorium.

The headline is: As far as I can ascertain, LASER projection has now been installed.

I had wondered if Cineworld would upgrade this location given that they have upgraded both Picturehouse Central Screen 1 and the O2 Superscreen with laser projection, as well as Cineworld rolling out laser projection in new sites.

During the performance, I was impressed by the picture quality achieved, and wondered if this was indeed the case. The “tell-tale” signs of laser—speckle, etc.—however, were either non-existent or hardly noticeable, and whilst well saturated colours were achieved, as well as a very good black level, it perhaps didn’t quite look “laser” in this respect, either. But it hardly looked like Xenon, either.

To add to the puzzle, I was slightly surprised to see that only one of the two Barco 4K projectors was operating, though, as is always for the Leicester Square Superscreen, it was a 2D presentation.

Looking into the booth, as can easily be done from the back of the main seating area (i.e. non-balcony), it was noticeable that on top of one projector was a large black rectangular-shaped unit, and this was not the case for other—not in use—projector.

To cut to the chase, it seems that likely Cineworld have NOT upgraded the Superscreen to all-new projection, but added Barco’s laser “retrofit” option, which amounts to converting the model from a Barco DP4K-23B, as moved over from the old (and very much still missed by myself!) Empire 1 on opening, to a DP4K-23BLP—the unit on top is in fact the “lamp house” for this.

The “LP” stands for “laser phosphor,” so it does not use separate red, green and blue lasers.

To quote from Barco’s website:

“The light source in an RGB projector contains red, green and blue lasers. The light source in a laser phosphor projector contains only blue (and sometimes red) lasers, combined with a yellow phosphor wheel. Both types of light sources create a uniform white light interface that enters the engine; just like a Xenon lamp did before. Only when you analyze the spectral properties of this white light, you can discern the narrow bandwidth of RGB from the broader bandwidth of LP.”

So there we are. Not the “real deal” but a, hopefully, good upgrade nonetheless. It always seemed to me that the auditorium was “made” for Atmos with laser-light source projection.

There’s more to say, but that will have to wait for a full write-up.

The sound was definitely on top form, too, with outstanding rear imaging from the Atmos system.

So, FWIW, I am happy to say that a high standard of picture and, particularly excellent sound quality was achieved; as a modern-style “own brand” with Atmos “premium large-format” auditorium, it is a very good place to see a film.

A photo looking into the booth clearly showing the two Barco projectors has been uploaded.

CF100
CF100 commented about Cineworld, The Empire, Leicester Square - View into Superscreen Booth. on Jan 29, 2020 at 5:40 pm

JBL rear speakers can also be seen, as well as a “night vision” light source comprising LEDs for auditorium surveillance.

CF100
CF100 commented about Odeon London Covent Garden on Jan 5, 2020 at 4:09 am

SethLewis: I like your idea and indeed the proposed scheme (if the developer is to be believed) was intended to have delivered something closer to your suggestions than another West End cinema playing the same first-run mainstream fare.

From the Planning Statement document of the refused application:*

“A new four-screen cinema providing a total of 260 seats would be provided at basement level. The cinema would be operated by the Applicant and would be based on the second viewing cinema principles successfully operated by Light Cinemas.”

(*Relinked since the link in a previous post does not work.)


Regarding the above discussion on “less than substantial harm,” reading through the “Refusal Report,” this (confusingly!) appears to be correctly worded—there would be harm to the building’s heritage, but not as severe as “substantial harm.”

Essentially, in this case, the proposals need some alterations/refinements to be acceptable in heritage and other aspects, e.g. the form and massing of the additional floors above existing roof level. A revised scheme was submitted; however, further changes are/were sought.

(Full details beginning at the bottom of p21 of the “Refusal Report,” under the heading “Design Review Panel.”)


In gaining permission from Camden Council, the primary stumbling block for the developer would seem to be the provision of sufficient evidence to demonstrate that full scale use of the building as a cinema, theatre, or other “cultural/leisure” activities would be unviable. For this planning application, they did not carry out an acceptable marketing exercise in relation to finding potential operator of such, which the “Refusal Report” states:

“…should be undertaken over a period of not less than 12 months and be based on a realistic price/rent which is supported by the Council.”

According to Camden Council’s planning database, at this time, the refused application has not been appealed.

CF100
CF100 commented about Odeon London Covent Garden on Jan 5, 2020 at 3:56 am

Addendum: On reflection, my previous post suggests that Tom Holman/Lucasfilm/THX were the fountainhead of the new speaker designs whereas key developments occurred elsewhere.

Very briefly: The JBL 4675 incorporated key developments such as their patented “Bi-Radial” “constant directivity” horn design and were the first THX certified screen speakers. A THX installation required a baffle wall and use of the THX time-aligned active crossover unit.

In 2001, JBL engineers were honoured with an Academy Award for Scientific and Technical Achievement for “The Concept, Design and Engineering of the Modern Constant-Directivity, Direct-Radiator Style Motion Picture Loudspeaker Systems.”

Not to sideline the achievements at Lucasfilm; and the THX programme played a key role in promulgating the use of new sound systems, as well heavily acoustically-treated and isolated auditorium designs.

A “TL;DR” historical overview of the new speakers can be read on p55 and p57 (PDF page numbers) in “The History and Legacy of JBL.” Elsewhere in the document, information on earlier cinema speakers (Western Electric/Altec Lansing) is available.

(Just realised that I know little about the Vitavox screen speakers that were common in the UK, so that might just be something to add to the never-ending research to-do list!)

CF100
CF100 commented about Odeon Luxe London Leicester Square on Jan 3, 2020 at 10:27 am

Lionel: Would love to attend.

I am flexible on date as I live in London. Ken Roe’s suggestion of “The Montagu Pike,” having a relatively spacious interior thanks to its original use as a cinema, sounds like a fine idea too.

CF100
CF100 commented about Odeon London Covent Garden on Jan 3, 2020 at 4:04 am

Addendum: In case anyone reading this is interested in a more detailed account of the changes to cinema speaker systems as mentioned in the previous post, a 1990 interview with Tom Holman from “Speaker Builder” magazine is available.

CF100
CF100 commented about Odeon London Covent Garden on Jan 3, 2020 at 3:55 am

Lionel: I do not know what was installed back in the day; in the flickr photoset that you linked to, DP75 projectors can be seen in a booth.

In the 1980s, cinema sound systems had not changed for decades, still using the old Altecs or Vitavox designs dating back to the mid 20th century.

After Dolby Stereo was introduced, cinemas simply upgraded the (so-called) “A-chain” with a Dolby Stereo decoder.

The THX programme in particular motivated changes to the “B-chain” side, with the JBL 4675 as the canonical example of the new screen speaker design (eliminating the bass horn and using a modern so-called “constant directivity” horn for the midrange/high frequencies) as specified by Tom Holman et al at Lucasfilm.

(N.B. The new speaker types were installed industry-wide, not THX-certified auditoria only.)

My suspicion is that an upgrade of the screen speaker system would not have occurred at the time that your Father visited. Still, the old screen speakers, whilst not state-of-the-art at that time, were very capable and indeed the old Altec “Voice of the Theater” speakers are now sought after by collectors (see eBay prices!) As an aside, with the immense technological progress in the 70 years or so, it is ironic that speakers were available then that still eat today’s average consumer “Bluetooth” speakers for dinner!

So even if still using the old speaker types, as long as the system was properly serviced, which seems more likely here than the local “flea-pit,” it may well have provided better than average sound.


Looking at photos of two of the current auditoria, the rear array speakers look like JBL 8330s (OK, but now obsolete and the design pre-dated the “new” digital formats, e.g. Dolby Digital. I’m also not sure if there are a sufficient number for adequate coverage?) The sidewalls are covered in (dirty looking!) stretched fabric or “Soundfold” pleated fabric, presumably hiding acoustic absorption behind. Of very limited interest with the spectacular Odeon Leicester Square’s Dolby Atmos installation available close by…

CF100
CF100 commented about Odeon Haymarket on Jan 1, 2020 at 11:49 pm

Lionel: Thank you for posting the link. Not sure if I have seen it before, but it was worth watching in any case.

The lighting and “festoon” tabs look wonderful!

CF100
CF100 commented about Odeon West End on Jan 1, 2020 at 5:50 pm

According to a brochure on the hotel’s website, the opening date for the hotel is June 2020. Among the many facilities listed in the brochure are “two screening rooms,” which I assume is a reference to the new Odeon’s two auditoria—which will of course, in any case, be available to book.

(The renderings of the hotel’s interior look impressive, but this isn’t “Hotel Treasures” (!)—suffice it to say that it’s too bad that a “hotel palace” is being completed on the site of a “picture palace.”)

CF100
CF100 commented about Vue Westfield Shepherd's Bush on Jan 1, 2020 at 5:33 pm

Re-visited a couple of months ago to attend a preview screening in Auditorium 6 (Xtreme.)

The auditorium has been completely reseated per Vue’s current choice of “house” seating.

The standard seating, with “velour”-type upholstery, is the same as Vue Eltham and, if I’m not mistaken, the VIP seating is also. (Photos of both seating types can be seen on Cinema Treasures' Vue Eltham pages.)

Not being “important”—much less “very important!”—in relation this event, standard seating was the only option, and I ended up seated in the last row auditorium. (Fortunately centre of row.)

I noted on the Vue Eltham page that the standard seating did not have an appearence in line with current expectations, and on briefly trying out one of these seats at the Eltham location, did not seem to be very comfortable. My revised view is that in some respects they do feel luxurious (e.g. good upholstery), but the comfort level really is inadequate, even for basic standard seating.


In terms of picture/sound quality, both were very good; much in line with my experiences in Auditorium 9 over at this cinema’s adjacent “sibling” (Shepherds Bush,) suggesting a good level of maintenance.

The new seating certainly gives a refreshed feel. The VIP seating should now be very comfortable indeed—I did not like the previously installed type—and comfortably positioned, so the Xtreme auditoria could now be good places to see a film.

Of course, whether or not the tickets represent value given the “premium” location, combined with uplifts charged for Xtreme with VIP seating; as well as the lack of laser light source projection and/or Atmos in a “PLF” auditorium, and the dreaded floating “flat” ratio screens, is another question…


What I considered to be a rather hideous “postmodern” mess of screens (see previous post dated 11th July 2018 on the Sony “Ziris Canvas”) in the main foyer has been removed. (IIRC replaced with a conventional multi-screen layout; I shall check my photos at a later time…)

CF100
CF100 commented about Odeon Luxe & Dine Islington on Jan 1, 2020 at 4:49 pm

[Previously posted November 23rd 2019 on the Odeon Leicester Square page, pending creation of this page.]


This is the first Odeon “Luxe & Dine”-branded venue.

Interestingly—at least in terms of potential, ahem, finger-pointing!—it was planned to be a “dine-in” venue (along the lines of “The Lounge at Whiteleys”) prior to the AMC acquisition, per Odeon’s 2016 press release, in which the project was announced.

A rendering of the venue’s public external entrance shows a glazed frontage, behind which is a very small lobby and two elevators.

The cinema’s page on Odeon’s website includes several images, one of which appears to be a rendering of a seating area in the foyer, which looks very attractive indeed. There is also a photo of an auditorium, though I suspect this is in fact of Odeon Luxe Haymarket, given the low ceiling and limited rake of the seating.

According to an article, the menu includes “Wagyu Beef, Corn Fed Chicken and Moving Mountains Vegan burgers, Wild Boar Hotdogs and Flatbread Pizza.” Drinks are available at an Oscar’s Bar.


I can only describe the “dine-in” concept with “waiter service” as a nightmare, but clearly a suitable “hipster” location has been selected!

(Incidentally, Odeon say that food can be ordered via their smartphone app—as if there wasn’t already enough potential “activity” in the auditorium to ruin the experience?!)


Auditorium info. from Odeon’s site:

6 screens

  • Screen 1 – 46 recliner + 2 accessible (RealD 3D)
  • Screen 2 – 30 recliner + 2 accessible (RealD 3D)
  • Screen 3 – 30 recliner + 2 accessible
  • Screen 4 – 30 recliner + 2 accessible
  • Screen 5 – 38 recliner + 2 accessible
  • Screen 6 – 28 recliner + 2 accessible (RealD 3D)

Total – 202 recliner + 12 accessible

CF100
CF100 commented about Odeon Luxe London Leicester Square on Jan 1, 2020 at 4:45 pm

(Belated!) best wishes to all for 2020…

CF100
CF100 commented about Odeon West End on Nov 23, 2019 at 6:19 pm

Update: Looking at the new building externally a couple of days ago, the majority is obscured by scaffolding with fire-retardant sheeting.

However, it appeared that at least some windows have been fitted, and much Rockwool was at the ready on multiple levels.

According to a newsletter posted on the ground-level site hoarding, dated August 2019 (!), “facade works are in progress on all elevations”. Mechanical & Electrical service installation and fit-out are also “in progress on all levels.” Of course, it might well be expected that this does not include the cinema fit-out just yet…

CF100
CF100 commented about Cineworld Cinema - Leicester Square on Oct 31, 2019 at 7:30 pm

Having recently paid a visit to the IMAX auditorium, the sidewall IMAX signs now fade in/out—however, the fade is extremely “stepped,” obviously sequencing through a handful of different levels, rather than smooth.

The sidewall signs were also (irritatingly!) turned on as the end credits started.

CF100
CF100 commented about Odeon Luxe London Leicester Square on Oct 31, 2019 at 7:20 pm

joeswin:

Would a seat towards the rear of the circle of the OLS be best (row F for example).

IMO none of the seating further back than the Royal Circle is suitable—just too far from the screen. The rear of the auditorium is about 3x the screen width away from the screen (c.f. max. 1x for IMAX and typical 1.5x in multiplex screens.) You are also having to look down at the screen.

In my view, the stalls would be a much better option. You do have to look up at the screen—however, at least in terms of comfort this is mitigated by the recliners. Row D or E would be a good choice (remembering that the recliners mean that the rows are deeper, so this is further back than it sounds!)—any further forward and the surround sound won’t be ideal, too far back and you’ll end up under the balcony.

Or would a seat in the superscreen be better? They are a similar price – around £20 but there is a much wider choice of seats in the superscreen. Does the tech in the OLS amke it a better choice overall, or would better seats be a wiser choice?

I have not been to the LSQ Superscreen in a long time now. The Superscreen has a top-of-the-line sound system (inc. Dolby Atmos) and it might be said is actually better specified than the OLS.


However, I was not impressed by the projection (2xBarco DP4K-23B with Xenon light source) installed at the time of the conversion of the old Screen 1 (2014.) These projectors were moved over from the old Empire 1. My recollection from the article on the Screen 1 conversion in Cinema Technology Magazine is that the long-throw lenses (~120ft. from the projection to the screen) were simply kept even though the throw is much less in the Superscreen. Empire Cinemas were queried about this in that article, and they claimed that they worked perfectly, but my experience was serious barrel distortion (curved like a goldfish bowl to the left/right sides of the screen.)

In addition, the lack of masking on the “flat” ratio screen is, in my view, not really acceptable for letterboxed material, as the projection cannot achieve sufficiently deep black levels for the disused parts of the screen.


It is, however, possible that Cineworld have, or will, upgrade to laser projection—Christie laser projection has been installed in Screen 1 of Picturehouse Central, and in the Superscreen over at the O2.


Laser projection allows for a wider colour gamut (i.e. more saturated, vibrant colours,) where the content has been supplied that takes advantage of this, as one would hope for a release in the Dolby Cinema format. The LSQ Superscreen’s screen is much larger than the OLS, but overall, as far as “technology” goes, I would recommend the OLS over the LSQ Superscreen.


I notice that Cineworld LSQ’s IMAX screenings will be in 3D, whereas both the LSQ Superscreen and the OLS screenings are 2D only. I guess that you do not wish to see “The Rise of Skywalker” in 3D? Otherwise, I’d say that the IMAX would be the best option.


Of course, it goes without saying that, if it is the venue/auditorium itself that you want as part of the experience, then the OLS wins hands down over the LSQ Superscreen.