IMAX with Laser was installed (with the 70mm GT projection retained.) However, IMAX’s “CoLA” (Commercial Laser) single projection system was installed, rather than the dual projection system (Laser GT.) It does not support 1.43:1 (max. height is 1.9:1.)
I have not revisited the progress (or otherwise) of the above-mentioned redevelopment scheme, though anything “office-led” would seem less viable in today’s “post-COVID” world.
Thanks for the info–I only just found out about this via a YouTube comment.
An expert is quoted as saying it’s unlikely to reopen as the landlord (different to the rest of the site) has had enough and wants to take back the space. https://www.screendaily.com/news/cineworlds-relationship-with-bruised-uk-landlords-in-the-spotlight-as-leicester-square-4dx-screen-boarded-up-exclusive/5182071.article
1-4 LSQ is owned by Criterion Capital, who also own the Trocadero. As the article notes, they Cineworld were in dispute over rent arrears for Picturehouse Central, and the Court of Appeal ruled in favour of the landlord. Presumably, this could be a factor in the apparent breakdown of the relationship.
Criterion seem to have a slightly different approach to other property companies. The Trocadero, in the process of conversion to a hotel, was largely out of action for a protracted period. Also, prime space fronting Coventry Street was used as a very large tourist tat shop…
If the cinema is not going to be repurposed any time soon, then one might ponder the motivation, not least given the costs involved in the 4DX conversion…
(N.B. In saying “Criterion Capital” and “Cineworld” here, I’m ignoring whatever mess of subsidiaries etc. there may be.)
The plans are from FDA Architecture, with the client listed as Empire Design. (?) According to their website, FDA Architecture were also involved with The Cinema at Selfridges.
Seating capacity is marked on the plans, but the low resolution renders them virtually illegible! I think Screen 1 is given as 221 fixed + 6 disabled + 13 VIP; total 240. This is at odds with the current figure of 213 regular seats given in the current Cinema Treasures description; I have no idea which is correct…
Screen widths as scaled off the plans are ~10m (= ~33ft.) wide for the Dolby Cinema and ~9.5 (= ~31ft.) for Screen 2.
Not sure if this therefore qualifies as the smallest Dolby Cinema screen size; it surely must be one of them.
“Cineworld and certain of its subsidiaries (collectively, the “Group Chapter 11 Companies”) have commenced Chapter 11 cases in the United States Bankruptcy Court for the Southern District of Texas (the “Court”).”
“[If they’re going to operate they will] clean up the under-performing complexes and either sell them off or do something with them. But that’s not where IMAX screens are — IMAX screens are all in the top-performing complexes.”
Clearly, in a world where “tentpole” releases still drawn in crowds, whilst streaming is snapping on the heels of mid-budget titles, a cinema with 3 premium format screens, one of which is exceptional, and 6 “studio” sized auditoria, is configured in a way that is more suitable than “megaplexes”…
Lionel: I never visited in single screen form, but I can say…
In Screen 2, the screen speaker system was JBL 4675’s with JBL 4688 “Triple Chamber Bandpass” subwoofers. (Later, JBL/Harman faced litigation from Bose for patent infringement, lost, and the TCB design products discontinued.) As you’d imagine, the surrounds were 8330’s.
No baffle wall, but (standard practice today) the wall behind the screen was covered with absorptive material (Rockwool) to control acoustics (i.e., sound bouncing off the unperforated parts of the screen to the wall behind, back and forth.)
Dolby Digital, DTS and SDDS all supported.
Very good sound.
Regarding “Return of the Jedi;” this was on the cusp of improvements to the B-chain, including the THX programme and the JBL 4765’s with (then) cutting-edge high power drivers and “bi-radial” horns, c.f., the old “cell horn” (HF section) designs, as in the old Vitavox, Altec Voice of the Theatre, etc.
Over the weekend, I did visit the Screen 1 (Dolby Cinema) in the new OWE, which features a very good Atmos install. Write-up to follow on its Cinema Treasures page!
Thanks for your fascinating story and link to photos.
I’m finally back out and about, and over the weekend, I saw this building (in finished form) for the first time in daylight. I have to say that I was very surprised–there is a real depth to the facing materials. The faience tiles positively gleam depending on the angle they’re lit/viewed. It really must be seen in person.
Agree with you about the demolition, but try to be realistic…
The Wall Street Journal reports that Cineworld are preparing to file for bankruptcy. The writing has been on the wall, given mounting debts. Will be interesting to see the future of this and their other flagship locations.
Seanf: The single laser (“Commercial Laser”) IMAX projection system is excellent; except that, for reasons presumably known only to IMAX, it supports 1.9:1 only. (Thinking about it, perhaps the “dual lens” used with the single projection system for 3D makes it unviable to also have a changeover to a vertical anamorphic lens for 1.43:1?)
Going by LF Examiner, the screen size at this venue is 71ft. wide and 51ft. high. Too bad, then, that the single laser projection was installed, as 1.43:1 continues to be used for selected releases.
Whilst this is an existent site, parent company Cineworld Group have opened new builds with 1.43:1 screens with the single IMAX with Laser projection system installed. A recent example is Cineworld Ashford, the IMAX auditorium of which (in a newly-built extension) only opened a few months ago; screen size is also at the ~70ft. mark, which is within the capability of the single laser projection system. All a bit odd…
It looks like there screen was just left blank? Very poor, and it looks ridiculous in that auditorium.
I know what you mean about what looks like a veritable never-ending “sea” of seats. Interestingly, the Upper Circle of the OLS actually gained a couple of rows, with the circle’s layout revised (no full width cross gangway/new central wide vomitorium,) and the last row is now up against the rear wall.
A market report by CBRE (a “Global Commercial Real Estate Services” company) is included in the Documents, which says:
“[There has been a] lack of commercial proposals from rival operators since Odeon announced its reasons for not proceeding with the development. Ultimately, a site of this scale in this location is no longer in keeping with current operator demands; an issue exacerbated still further by the 2020 outbreak of COVID-19 and the effects that this has had on the sector.”
In view of the Premises Licence being issued in July 2020, per my previous post, one can only assume that this is a direct consequence of COVID.
Thankfully, not a great loss–Odeon’s scheme, after all, was no compensation for the ruination and subsequent demolition of the majestic piece of modernism that was the “large format” flagship cinema which once stood proud on this site.
davidcoppock: The main façade was not retained. Ground floor is now retail with 2 floors of apartments above that have windows facing onto the High Street.
To be fair, particularly upon closure, the main façade wasn’t much to look at. However, its replacement is remarkable for its complete absence of elegance.
Having a quick look at the rest, it seems the auditorium block was demolished, but the building that was between the vestibule and the auditorium seems to have been repurposed, albeit with extensive alterations.
Parts of its original frontage can be seen from the High Street, behind the single storey building that is to the left of where the cinema’s main entrance was.
HowardBHaas: Good to hear that it does offer a “premium” experience.
It’s not that there is no difference between operators' own-brand “Premium Large Format” (such as “RPX”) auditoria and “regular.” As you say, you would expect a relatively big screen, high-end projection/sound, etc.
For a proprietary premium format such as ScreenX (with the image extended along the sidewalls using additional projectors)–if the contract (with CJ4DPLEX of South Korea–yes, the “dreaded” 4DX is from the same company!) is terminated, then ScreenX versions of releases (which contain the additional image data for the sidewall projection) won’t be supplied.
Therefore, (even if retained) the sidewall projection can’t be used. By definition, it’s no longer a “ScreenX” auditorium.
Whereas, removing “RPX” branding would make no difference if nothing else has changed–the auditorium would still provide the same experience…
Maintaining a “premium” experience does require upgrading to meet current expectations. Perhaps that explains what’s happened here; for example, if the RPX lacks Dolby Atmos? This is certainly specified for parent company Cineworld’s “Superscreen” PLF own-brand auditoria.
“RPX” is their own “Premium Large Format” brand; they can call any auditorium they like “RPX”* (unlike, e.g., IMAX, where IMAX supply all equipment, auditoria are built or modified per IMAX spec., IMAX-specific versions of releases are supplied, etc.)
If they have dropped the “RPX” branding, then it would still be equipped with the same projection/sound, unless equipment was downgraded?
(*Regal’s website says the following: “[RPX provides] a giant immersive screen [which] is illuminated by high-quality digital projectors and completed with a state-of-the-art sound system.”)
Cinedelphia: According to LF Examiner – Theatres Listing, “KOP” is equipped with both IMAX Laser GT dual projection and IMAX 70mm projection.
IMAX Laser GT projection is intended to replace IMAX 70mm projection, and this has been the case for most venues. But not all–the IMAX in London’s Science Museum (recently refurbished) is one that retained 15/70 projection. (Not that there’s much point…!)
The BFI London IMAX is an oddity, given it’s very much an iconic venue. However, a scheme to redevelop the site it’s on and surroundings is in the planning stages. BFI have signed confidentiality agreements with respect to this. Whilst a replacement IMAX, one might imagine, would be likely (à la Darling Harbour IMAX, Sydney,) it’s hard not to draw conclusions on why responses such as the one offered to yourself are given to queries about IMAX Laser GT not being installed.
I’m slightly puzzled by the reference in the description to a bus station being on the site. Using the “Historical Imagery” function of the desktop version of Google Earth to look at aerial images dating from before the leisure complex was built, I can see only a flat “surface level” car park.
BH2 is covered in the June 2017 issue of Cinema Technology.
Projection is NEC; NC3240 in the iSense (or is that isense? Odeon don’t consistently apply capitalisation, and it turns out that both variations have been filed as trademarks by them…)
The speaker system specifications are not included in that article.
However, the screen speakers for the similar and almost contemporaneous Odeon Orpington iSense are:
LFE: 4xLW Speakers LW 6117 (2x21” per cabinet=8x21” drivers.)
(The Orpington iSense is covered in the September 2016 issue of Cinema Technology.)
Obviously it would be different in BH2 given that the speakers are from JBL, but the above should be indicative of the likely specification.
Per Dolby Atmos theatrical guidelines, LFE speakers are installed in one cluster on the floor behind the screen (for mutual coupling.)
In the BH2 iSense, adjacent to the stadia, sidewalls are covered in blue stretched fabric from handrail level up. At the screen end it appears to be black stretched fabric from fire exit door opening level up. That means that the thick mineral wool slabs behind the stretched fabric cover the sidewalls adjacent to the screen at the level of the main screen speakers, controlling lateral reflections.
The standard material up to stretched fabric level is an “acoustic carpet” product (or that’s how it’s marketed, it’s like hard wearing car carpet in appearance.)
According to the above-linked page, when UCI operated the cinema, this company performed an asbestos survey, in which asbestos-containing materials identified included “spray coatings, asbestos insulation board ceilings and cement.” Subsequently, removal work took place (logistically not so easy) and a new survey to update the asbestos register was undertaken.
Hmm. I’d still be surprised if no asbestos removal was needed above the ceiling during the strip-out of the old Empire 1. I’m fairly surprised that the old wall/ceiling tiles apparently didn’t contain any… (otherwise the wall tiles wouldn’t have been removed aggressively ASAP after the auditorium closed for renovation.)
The “abstract” sidewall features look better to me than the inelegant arrangement of red rectangular boxes on the sidewalls of Cineworld’s IMAX builds over the past few years. The “IMAX Belfast” sidewall signage really should be positioned differently, though. (Or, I might suggest, removed altogether…)
Black upholstered seating with red accents looks good, and means (in an unfilled auditorium!) less light reflecting back to the screen–important to get the most out of the IMAX with Laser projection.
This does seem to be yet another Cineworld IMAX that’s opened with a 1.43:1 screen with 1.9:1 projection capability only, albeit this time it is a refurbishment of an existent auditorium. This results in much “letterboxing” for “scope” content (~40% of the screen height.)
These reveal a 5 screen basement cinema to be branded “Odeon Luxe and Dine.” Seating is shown as all-recliner.
Seat counts:
Screen 1: 46
Screen 2: 30
Screen 3: 30
Screen 4: 46
Screen 5: 46
Screen widths all look to be under 30ft. with some of the auditoria being relatively deep.
This clearly is a very different scheme to the replacement Odeon Luxe West End. Hardly unexpected; but anyone who may have hoped for at least a tenuous nod to the heyday of large format super cinema wonderment is, alas, out of luck.
Whatever was going on with Cineworld over the past few years, there’s an “end game”–and it’s an $35m payoff to Mooky Greidinger and colleagues:
Cineworld CEO and top execs secure near $35 million exit payout.
This isn’t what happens to “ordinary folk” when maxxing out all their credit cards!
As for The Empire:
“Cineworld have a lease with 60 years left on it, that’s the landlords next opportunity to take the building back on the basis of a conversion.”
(From comment by theatreofvarieties on Sept 20, 2017.)
Also, IIRC the Casino lease has been extended to 2040.
So, thankfully, I think it’s safe for the foreseeable.
Plans granted for apartment hotel/community facility.
IMAX with Laser was installed (with the 70mm GT projection retained.) However, IMAX’s “CoLA” (Commercial Laser) single projection system was installed, rather than the dual projection system (Laser GT.) It does not support 1.43:1 (max. height is 1.9:1.)
I have not revisited the progress (or otherwise) of the above-mentioned redevelopment scheme, though anything “office-led” would seem less viable in today’s “post-COVID” world.
theatreofvarieties: Many thanks for offering the original Empire 1 seats. I’d love to have one… how can we go about arranging this?
Zappomatic: Welcome back?!
Thanks for the info–I only just found out about this via a YouTube comment.
1-4 LSQ is owned by Criterion Capital, who also own the Trocadero. As the article notes, they Cineworld were in dispute over rent arrears for Picturehouse Central, and the Court of Appeal ruled in favour of the landlord. Presumably, this could be a factor in the apparent breakdown of the relationship.
Criterion seem to have a slightly different approach to other property companies. The Trocadero, in the process of conversion to a hotel, was largely out of action for a protracted period. Also, prime space fronting Coventry Street was used as a very large tourist tat shop…
If the cinema is not going to be repurposed any time soon, then one might ponder the motivation, not least given the costs involved in the 4DX conversion…
(N.B. In saying “Criterion Capital” and “Cineworld” here, I’m ignoring whatever mess of subsidiaries etc. there may be.)
The premises licence includes plans on the last page.
The plans are from FDA Architecture, with the client listed as Empire Design. (?) According to their website, FDA Architecture were also involved with The Cinema at Selfridges.
Seating capacity is marked on the plans, but the low resolution renders them virtually illegible! I think Screen 1 is given as 221 fixed + 6 disabled + 13 VIP; total 240. This is at odds with the current figure of 213 regular seats given in the current Cinema Treasures description; I have no idea which is correct…
Screen widths as scaled off the plans are ~10m (= ~33ft.) wide for the Dolby Cinema and ~9.5 (= ~31ft.) for Screen 2.
Not sure if this therefore qualifies as the smallest Dolby Cinema screen size; it surely must be one of them.
Cineworld have announced:
“Cineworld and certain of its subsidiaries (collectively, the “Group Chapter 11 Companies”) have commenced Chapter 11 cases in the United States Bankruptcy Court for the Southern District of Texas (the “Court”).”
Source: Cineworld Group plc - Announcement.
The above link is to a newly launched website pertaining to the proceedings, under the domain cineworldstrong.com, a somewhat odd name.
Meanwhile, IMAX’s CFO states that IMAX sites operate under a master lease agreement that covers all of an operator’s locations. She goes on to suggest:
“[If they’re going to operate they will] clean up the under-performing complexes and either sell them off or do something with them. But that’s not where IMAX screens are — IMAX screens are all in the top-performing complexes.”
Clearly, in a world where “tentpole” releases still drawn in crowds, whilst streaming is snapping on the heels of mid-budget titles, a cinema with 3 premium format screens, one of which is exceptional, and 6 “studio” sized auditoria, is configured in a way that is more suitable than “megaplexes”…
Lionel: I never visited in single screen form, but I can say…
In Screen 2, the screen speaker system was JBL 4675’s with JBL 4688 “Triple Chamber Bandpass” subwoofers. (Later, JBL/Harman faced litigation from Bose for patent infringement, lost, and the TCB design products discontinued.) As you’d imagine, the surrounds were 8330’s.
No baffle wall, but (standard practice today) the wall behind the screen was covered with absorptive material (Rockwool) to control acoustics (i.e., sound bouncing off the unperforated parts of the screen to the wall behind, back and forth.)
Dolby Digital, DTS and SDDS all supported.
Very good sound.
Regarding “Return of the Jedi;” this was on the cusp of improvements to the B-chain, including the THX programme and the JBL 4765’s with (then) cutting-edge high power drivers and “bi-radial” horns, c.f., the old “cell horn” (HF section) designs, as in the old Vitavox, Altec Voice of the Theatre, etc.
Over the weekend, I did visit the Screen 1 (Dolby Cinema) in the new OWE, which features a very good Atmos install. Write-up to follow on its Cinema Treasures page!
Thanks for your fascinating story and link to photos.
HowardBHaas: Good to see your photos!
I’m finally back out and about, and over the weekend, I saw this building (in finished form) for the first time in daylight. I have to say that I was very surprised–there is a real depth to the facing materials. The faience tiles positively gleam depending on the angle they’re lit/viewed. It really must be seen in person.
Agree with you about the demolition, but try to be realistic…
Biffaskin: Finishes of the new building’s façade include blue faience tiles and “crystal white” granite cladding.
Full details are available in the following planning application under “Facade Material Samples”:
18/02417/ADFULL – Details of facing materials samples pursuant to Condition 28 of planning permission dated 29 November 2016.
The Wall Street Journal reports that Cineworld are preparing to file for bankruptcy. The writing has been on the wall, given mounting debts. Will be interesting to see the future of this and their other flagship locations.
Seanf: The single laser (“Commercial Laser”) IMAX projection system is excellent; except that, for reasons presumably known only to IMAX, it supports 1.9:1 only. (Thinking about it, perhaps the “dual lens” used with the single projection system for 3D makes it unviable to also have a changeover to a vertical anamorphic lens for 1.43:1?)
Going by LF Examiner, the screen size at this venue is 71ft. wide and 51ft. high. Too bad, then, that the single laser projection was installed, as 1.43:1 continues to be used for selected releases.
Whilst this is an existent site, parent company Cineworld Group have opened new builds with 1.43:1 screens with the single IMAX with Laser projection system installed. A recent example is Cineworld Ashford, the IMAX auditorium of which (in a newly-built extension) only opened a few months ago; screen size is also at the ~70ft. mark, which is within the capability of the single laser projection system. All a bit odd…
Exterior footage of The Empire, Leicester Square in 1896 (!) with “Lumiere Cinematographe” signage (and yes, horses and carts to boot…)
HowardBHaas: Those are some nice photos!
It looks like there screen was just left blank? Very poor, and it looks ridiculous in that auditorium.
I know what you mean about what looks like a veritable never-ending “sea” of seats. Interestingly, the Upper Circle of the OLS actually gained a couple of rows, with the circle’s layout revised (no full width cross gangway/new central wide vomitorium,) and the last row is now up against the rear wall.
Planning permission (application submitted April 2021) for an alternative use of the cinema demise granted as below:
21/02728/FULLH - Use of part ground, part lower ground and part basement as an art gallery (Class F1).
A market report by CBRE (a “Global Commercial Real Estate Services” company) is included in the Documents, which says:
“[There has been a] lack of commercial proposals from rival operators since Odeon announced its reasons for not proceeding with the development. Ultimately, a site of this scale in this location is no longer in keeping with current operator demands; an issue exacerbated still further by the 2020 outbreak of COVID-19 and the effects that this has had on the sector.”
In view of the Premises Licence being issued in July 2020, per my previous post, one can only assume that this is a direct consequence of COVID.
Thankfully, not a great loss–Odeon’s scheme, after all, was no compensation for the ruination and subsequent demolition of the majestic piece of modernism that was the “large format” flagship cinema which once stood proud on this site.
davidcoppock: The main façade was not retained. Ground floor is now retail with 2 floors of apartments above that have windows facing onto the High Street.
To be fair, particularly upon closure, the main façade wasn’t much to look at. However, its replacement is remarkable for its complete absence of elegance.
Having a quick look at the rest, it seems the auditorium block was demolished, but the building that was between the vestibule and the auditorium seems to have been repurposed, albeit with extensive alterations.
Parts of its original frontage can be seen from the High Street, behind the single storey building that is to the left of where the cinema’s main entrance was.
HowardBHaas: Good to hear that it does offer a “premium” experience.
It’s not that there is no difference between operators' own-brand “Premium Large Format” (such as “RPX”) auditoria and “regular.” As you say, you would expect a relatively big screen, high-end projection/sound, etc.
For a proprietary premium format such as ScreenX (with the image extended along the sidewalls using additional projectors)–if the contract (with CJ4DPLEX of South Korea–yes, the “dreaded” 4DX is from the same company!) is terminated, then ScreenX versions of releases (which contain the additional image data for the sidewall projection) won’t be supplied.
Therefore, (even if retained) the sidewall projection can’t be used. By definition, it’s no longer a “ScreenX” auditorium.
Whereas, removing “RPX” branding would make no difference if nothing else has changed–the auditorium would still provide the same experience…
Maintaining a “premium” experience does require upgrading to meet current expectations. Perhaps that explains what’s happened here; for example, if the RPX lacks Dolby Atmos? This is certainly specified for parent company Cineworld’s “Superscreen” PLF own-brand auditoria.
“RPX” is their own “Premium Large Format” brand; they can call any auditorium they like “RPX”* (unlike, e.g., IMAX, where IMAX supply all equipment, auditoria are built or modified per IMAX spec., IMAX-specific versions of releases are supplied, etc.)
If they have dropped the “RPX” branding, then it would still be equipped with the same projection/sound, unless equipment was downgraded?
(*Regal’s website says the following: “[RPX provides] a giant immersive screen [which] is illuminated by high-quality digital projectors and completed with a state-of-the-art sound system.”)
Cinedelphia: According to LF Examiner – Theatres Listing, “KOP” is equipped with both IMAX Laser GT dual projection and IMAX 70mm projection.
IMAX Laser GT projection is intended to replace IMAX 70mm projection, and this has been the case for most venues. But not all–the IMAX in London’s Science Museum (recently refurbished) is one that retained 15/70 projection. (Not that there’s much point…!)
The BFI London IMAX is an oddity, given it’s very much an iconic venue. However, a scheme to redevelop the site it’s on and surroundings is in the planning stages. BFI have signed confidentiality agreements with respect to this. Whilst a replacement IMAX, one might imagine, would be likely (à la Darling Harbour IMAX, Sydney,) it’s hard not to draw conclusions on why responses such as the one offered to yourself are given to queries about IMAX Laser GT not being installed.
Fay Studios (Movie Theatre Interior Services) – “KOP” IMAX Refurbishment Photos:
During works.
After completion.
davidcoppock: The car park was open to the public:
Google Maps Street View.
I’m slightly puzzled by the reference in the description to a bus station being on the site. Using the “Historical Imagery” function of the desktop version of Google Earth to look at aerial images dating from before the leisure complex was built, I can see only a flat “surface level” car park.
BH2 is covered in the June 2017 issue of Cinema Technology.
Projection is NEC; NC3240 in the iSense (or is that isense? Odeon don’t consistently apply capitalisation, and it turns out that both variations have been filed as trademarks by them…)
The speaker system specifications are not included in that article.
However, the screen speakers for the similar and almost contemporaneous Odeon Orpington iSense are:
L/Lc/C/Rc/R: 5xLW Speakers LW-5109-BI screen speakers (4-way, dual 18” bass drivers.)
LFE: 4xLW Speakers LW 6117 (2x21” per cabinet=8x21” drivers.)
(The Orpington iSense is covered in the September 2016 issue of Cinema Technology.)
Obviously it would be different in BH2 given that the speakers are from JBL, but the above should be indicative of the likely specification.
Per Dolby Atmos theatrical guidelines, LFE speakers are installed in one cluster on the floor behind the screen (for mutual coupling.)
In the BH2 iSense, adjacent to the stadia, sidewalls are covered in blue stretched fabric from handrail level up. At the screen end it appears to be black stretched fabric from fire exit door opening level up. That means that the thick mineral wool slabs behind the stretched fabric cover the sidewalls adjacent to the screen at the level of the main screen speakers, controlling lateral reflections.
The standard material up to stretched fabric level is an “acoustic carpet” product (or that’s how it’s marketed, it’s like hard wearing car carpet in appearance.)
Bagnall Demolition — The Empire.
According to the above-linked page, when UCI operated the cinema, this company performed an asbestos survey, in which asbestos-containing materials identified included “spray coatings, asbestos insulation board ceilings and cement.” Subsequently, removal work took place (logistically not so easy) and a new survey to update the asbestos register was undertaken.
Hmm. I’d still be surprised if no asbestos removal was needed above the ceiling during the strip-out of the old Empire 1. I’m fairly surprised that the old wall/ceiling tiles apparently didn’t contain any… (otherwise the wall tiles wouldn’t have been removed aggressively ASAP after the auditorium closed for renovation.)
The Cinerama Dome Isn’t Planning To Re-Open Imminently; Here’s What’s Really Going On.
According to the linked article, re-opening date is unknown. Refurbishment at planning stage.
Cineworld have uploaded a video on YouTube:
Video: “Take a look inside Cineworld Belfast - featuring IMAX, 4DX and ScreenX!”
The “abstract” sidewall features look better to me than the inelegant arrangement of red rectangular boxes on the sidewalls of Cineworld’s IMAX builds over the past few years. The “IMAX Belfast” sidewall signage really should be positioned differently, though. (Or, I might suggest, removed altogether…)
Black upholstered seating with red accents looks good, and means (in an unfilled auditorium!) less light reflecting back to the screen–important to get the most out of the IMAX with Laser projection.
This does seem to be yet another Cineworld IMAX that’s opened with a 1.43:1 screen with 1.9:1 projection capability only, albeit this time it is a refurbishment of an existent auditorium. This results in much “letterboxing” for “scope” content (~40% of the screen height.)
Plans for the replacement Odeon Marble Arch are available within the premises licence, issued in July 2020:
Premises Licence.
These reveal a 5 screen basement cinema to be branded “Odeon Luxe and Dine.” Seating is shown as all-recliner.
Seat counts:
Screen widths all look to be under 30ft. with some of the auditoria being relatively deep.
This clearly is a very different scheme to the replacement Odeon Luxe West End. Hardly unexpected; but anyone who may have hoped for at least a tenuous nod to the heyday of large format super cinema wonderment is, alas, out of luck.