Large Format/"Premium" Theaters (IMAX 15/70, Digital IMAX, XD, ETX, RPX, etc.)

[singhcr]

Originally Posted by Dreamliner330

Awesome. Hopefully I can pick your brain a bit more:

Where is the 'break' in the rows where you enter the room?

How does it compare to the size of their IMAX screen?

Their seat selector is off center to the screen, which seat(s) are dead center to the screen?

What did you think of the image/sound quality compared to their IMAX room?

Row G is the first row above the break in the seating. It's the front of the back tier. I was in G10 or G11 and I was pretty much dead center. I'd think the seats to the right and left of where I was sitting would also be considered centered.

I don't go to the digital IMAX showings so I wouldn't know. I went to one IMAX screening many years ago at the Paragon in Burnsville and the picture quality was, bar none, the worst I have ever seen in a theater. A close second was seeing Spectre at the Apple Valley zoo. Absolutely terrible. No detail, poor contrast and blacks, and overall it reminded me of a cheap LCD TV.

I have been to two Dolby Vision screenings so far: one in LA (Batman vs. Superman) and Logan here in MN. I am extremely impressed. BvS was a 2K DI unlike Logan, but the blacks were very impressive and there was a noticeable jump in detail and sharpness. Any showing there must be in Dolby Vision according to the manager so any film you see there should be leagues beyond anything in a digital IMAX showing. Even if Roseville has a 4K laser projector (does it? I don't know) the Dolby Vision setup would have the advantage of the increased color space and dynamic range. It's honestly the first time I have been impressed by a digital projection system. It's that good.

[Dreamliner330]

Originally Posted by singhcr

Row G is the first row above the break in the seating. It's the front of the back tier. I was in G10 or G11 and I was pretty much dead center. I'd think the seats to the right and left of where I was sitting would also be considered centered.

I don't go to the digital IMAX showings so I wouldn't know. I went to one IMAX screening many years ago at the Paragon in Burnsville and the picture quality was, bar none, the worst I have ever seen in a theater. A close second was seeing Spectre at the Apple Valley zoo. Absolutely terrible. No detail, poor contrast and blacks, and overall it reminded me of a cheap LCD TV.

I have been to two Dolby Vision screenings so far: one in LA (Batman vs. Superman) and Logan here in MN. I am extremely impressed. BvS was a 2K DI unlike Logan, but the blacks were very impressive and there was a noticeable jump in detail and sharpness. Any showing there must be in Dolby Vision according to the manager so any film you see there should be leagues beyond anything in a digital IMAX showing. Even if Roseville has a 4K laser projector (does it? I don't know) the Dolby Vision setup would have the advantage of the increased color space and dynamic range. It's honestly the first time I have been impressed by a digital projection system. It's that good.

I'll have to check it out. I saw Logan in IMAX at Maple Grove, that's my main location. Next time your at the theater, poke your head in the IMAX room.

[singhcr]

I will do that. Thanks for the suggestion.

[Spike M.]

Originally Posted by ITDEFX101

I find it more annoying that theaters crank the audio to full on trailers but when the movies start they drop it to about 50 to 60 percent. I am all for theaters that do Sensory Friendly films for children with special needs, but I am wondering how *low* they drop the sound? To the point of hearing more chewing then the dialog of the movie?

It's odd since, having been a projectionist, you can set a volume preset on each individual piece of media. I'd always just naturally set the trailers at a lower volume than the feature since they seemed to be mixed louder, and I know at the local IMAX people complaining about trailer volume is a constant thing that either results in the staff telling them to "wait for the feature" or some new kid will turn the volume way down during the trailers and the feature is barely audible. It's kinda frustrating that at $17 bucks a ticket something as simple as common sense volume control isn't implemented.

[MrsMiniver]

Originally Posted by Spike M.

It's odd since, having been a projectionist, you can set a volume preset on each individual piece of media. I'd always just naturally set the trailers at a lower volume than the feature since they seemed to be mixed louder, and I know at the local IMAX people complaining about trailer volume is a constant thing that either results in the staff telling them to "wait for the feature" or some new kid will turn the volume way down during the trailers and the feature is barely audible. It's kinda frustrating that at $17 bucks a ticket something as simple as common sense volume control isn't implemented.

I was a projectionist in the 70s, 80, and most of the 90s. I worked my final days when the union was absolved. I can only really comment on 35mm presentations but a you need a good projectionist for good sound. Good sound level is not just set and forget, a number of things have to be taken into consideration such as how full the house is, what kind of sound system you are using such Dolby Stereo, or SR or Digital. And the biggest and most critical factor is that the sound system is properly spec'd and calibrated. Back in those days different auditoriums had different sound systems and different playback methods. Good quality sound was more than just playback volume levels.

Probably the best idea for sound was the idea of THX sound system, my theater in 1987 was one of the first to have a properly designed THX auditorium built from scratch and properly aligned and certified. When playing a moving that mixed in a THX sound stage and then played back in a THX auditorium, you absolutely knew that you had excellent audio. Everything from the baffle wall, the sound absorbing materials, how busy the movie was, and the projectionist keen sense of showmanship.

Digital projection mostly lacks. IMAX is the only thing I have seen that has any resemblance of quality or some sort of standards.

[ITDEFX101]

The problem is that reporting the issue is impossible without evidence. You aren't allowed to record video or audio during the movie. Smartphones can't capture all channels. Bringing an audio meter would cause some idiot who doesn't know what the device is to freak out and report it to management. Calling the number or visiting the web site to report an issue would probably just throw it back to the theater instead of having someone come out and really check the equipment.

[silentbob]

Originally Posted by ITDEFX101

I find it more annoying that theaters crank the audio to full on trailers but when the movies start they drop it to about 50 to 60 percent. I am all for theaters that do Sensory Friendly films for children with special needs, but I am wondering how *low* they drop the sound? To the point of hearing more chewing then the dialog of the movie?

I have always read that the sound systems are optimized so it doesn't matter where you sit in the theater but this is not true. I have sat in the far top rows in the theater and don't get that surround sound effect. If I sit middle center area, I get the good stuff but mostly we get damned by stupid fools who sit behind us and start talking.

Spoke to the manager last night about my Kong experience about how the 3-d projector wasn't active during the first 10 minutes and she was telling me that they *could* have restarted the movie but the MOD didn't do it and was notified. I did ask if there was a special timer on the film that prohibits restarts/resets and she told me that no they could have restarted the film and just make the next showing a little late.

Being promoted inside of a movie theater must be super easy if they have these 20 year olds running them.

I haven't worked at the theatre in 3.5 years but i was a projectionist for about 11-12 years. We use to run 2 shows at 1pm at my theatre for Moms and babies called Stars and Strollers (they, Cineplex Canada still does this) We geared this for the moms and i would personally come down and see what they thought was a comfy level. Usually about a 2.2-2.5 max. I would always keep the volume lower for the trailers as they are mixed higher volume wise to get your attention. So at about a 1.7-2.0 on our system. My theatre was a prototype for what would be a chain of SilverCity themed multiplexes. We had 3 different types of Doly receivers Dolby 500 (digitally control of volume) and Dolby 45 and i think Dolby 35 for the smaller theatres, but they needed to be manually adjusted for volume.

I was promoted to a projectionist at the age of 19 because i was one of the oldest workers there. (so yeah you would be correct) They were looking for people to train because all of the Union projectionists that were getting the boot (got too greedy) I only lost my job because they wanted to cut down on our hours and train the managers to thread the shows until the digital projectors replaced all the 35mm ones. Plus with that the maintenance and bulb changes that we kept a watchful eye on, went past what the old standards use to be (why i also prefer, on average, my 106" digital projector screen for my 2D/3D watching pleasure) Went and saw Suicide Squad 3D in the VIP theatre (18+ only, serve alcohol, smaller theatre but big leather chairs) They screwed up the first 5-8 minutes of the film as the 3D was being shown in reverse. Everything that was a background image was jumping into the foreground. My cousin complained and got passes for the mistake and also i knew the manager from working with her too. Still my cousin went back a week later and saw the movie with her friends, in the same theatre, same movie and still got the same 3D problem. Nothing was fixed during that week's time.

As for the sound calibration. We would have our technical guys come out twice a year to balance everything out. They would do the white noise sweeps in a few spots and adjust accordingly (have always liked the sound in my theatre) Still remember before Star Wars Episode II opened. Dolby or THX were sent out to make sure our Dolby EX machines were all working for the possibility of playing the film on said theatre (12 in all after expansion) Their guide for calibrating the Dolby EX receivers was (and i kid you not) R2-Unit Calibration Guide.

Plus i think i have about 80 35mm trailers from various films downstairs that i might need to sort through soon.

[ITDEFX101]

There really should be no excuse why these problems persists past one day. To go back a week later to experience the same problem you encountered during the first showing is unexceptionable. Last year I went to one theater to see Now You See Me 2. I was looking so forward to this movie. The first 30-40 minutes, the audio level was really low for some reason. I could barely hear the dialog and hear more of the music and background noises. No one got up to complain. I went to report it and 10 mins later the issue still was not fixed. I was offered a refund and was told that they have been having that problem with the film even on their larger xD screens. Ummmm Ok if there was a problem it should have been sent back to it's distributor for a replacement.

Went to go see it again at my local theater that night. Sound was perfect.

[ITDEFX101]

See now with all this projectionist talk I am more and more curious about the process to make the film run at optimum settings. I take it there is a special machine in which the movie is loaded from a hard drive like device with a number maximum plays before it gets disabled. Once loaded it connects to a server in which authenticates for play back at that theater. Once the movie is done with it's theatrical run, it is sent back to the studio for data wipe and a new movie is placed in it?

The upper level theater employee goes in and makes sure the audio levels are fine then goes and do something else....

Besides the concession stands and the ticket counter, and cleaning the theater what else is there to do working at theater?

[Spike M.]

Originally Posted by ITDEFX101

See now with all this projectionist talk I am more and more curious about the process to make the film run at optimum settings. I take it there is a special machine in which the movie is loaded from a hard drive like device with a number maximum plays before it gets disabled. Once loaded it connects to a server in which authenticates for play back at that theater. Once the movie is done with it's theatrical run, it is sent back to the studio for data wipe and a new movie is placed in it?

You download the DCP (the movie) onto the projector's server and then use a password to unlock it. The password usually came on a USB stick but I was working in an arthouse, not a multiplex, so it might be different. It expires after a certain date, not a certain amount of showtimes, but the studio can keep track of the metadata of the DCP (I don't think they ever do, I'd screen movies for myself all the time and no-one cared). As long as the sound system is set up properly, your job is basically just to make sure the aspect ratio is projected correctly, there are no formatting errors (these are more often than you'd think), and then getting the volume set-up. The problem seems to be that projectionists these days are setting the volume to the movie (which is good, as long as they're using a dialogue scene as the point of reference), but then leaving the trailers at that same level. So people complain. They turn the volume down.

The real problem is being understaffed/undertrained. I was working at a four-screen theater that would play two or three different movies on each screen, and I'd still be left alone building the DCP playlists and checking volume levels every Thursday night until about 3:30am on top of my regular shift. When theaters did away with having actual projection staffs, these duties were dropped on managers and whatnot, and those guys have to control 13+ screens in a single night. Things slip past easy, and if no-one complains, or only one person complains during a week of shows...

[ITDEFX101]

Originally Posted by Spike M.

You download the DCP (the movie) onto the projector's server and then use a password to unlock it. The password usually came on a USB stick but I was working in an arthouse, not a multiplex, so it might be different. It expires after a certain date, not a certain amount of showtimes, but the studio can keep track of the metadata of the DCP (I don't think they ever do, I'd screen movies for myself all the time and no-one cared). As long as the sound system is set up properly, your job is basically just to make sure the aspect ratio is projected correctly, there are no formatting errors (these are more often than you'd think), and then getting the volume set-up. The problem seems to be that projectionists these days are setting the volume to the movie (which is good, as long as they're using a dialogue scene as the point of reference), but then leaving the trailers at that same level. So people complain. They turn the volume down.

The real problem is being understaffed/undertrained. I was working at a four-screen theater that would play two or three different movies on each screen, and I'd still be left alone building the DCP playlists and checking volume levels every Thursday night until about 3:30am on top of my regular shift. When theaters did away with having actual projection staffs, these duties were dropped on managers and whatnot, and those guys have to control 13+ screens in a single night. Things slip past easy, and if no-one complains, or only one person complains during a week of shows...

WOW..very interesting.

So.......how does one complain to when every time there is an aspect ratio change at an IMAX-D theater, the screen fills up, with the exception of the lower 20% of it? I don't want to look like a jerk and complain to the manager that the lower 20% of the image is missing. Seems to be happening every time I go to my local IMAX-D (regal) theater. Last thing I want to do is get a ban from my local theater or have my points (over 200k) go poof in retaliation.

[Spike M.]

Originally Posted by ITDEFX101

WOW..very interesting.

So.......how does one complain to when every time there is an aspect ratio change at an IMAX-D theater, the screen fills up, with the exception of the lower 20% of it? I don't want to look like a jerk and complain to the manager that the lower 20% of the image is missing. Seems to be happening every time I go to my local IMAX-D (regal) theater. Last thing I want to do is get a ban from my local theater or have my points (over 200k) go poof in retaliation.

Most IMAX projectors won't fill up the entire screen. IMAX builds their retrofit screens to random aspect ratios to cover as much of the wall space as possible (unless the wall is abnormal), but the projectors themselves are limited to a height of 1.90:1. Even in a purpose built IMAX, the screen's are significantly taller than any content they show outside of a native 15/70mm shot film.

[MrsMiniver]

Originally Posted by ITDEFX101

WOW..very interesting.

So.......how does one complain to when every time there is an aspect ratio change at an IMAX-D theater, the screen fills up, with the exception of the lower 20% of it? I don't want to look like a jerk and complain to the manager that the lower 20% of the image is missing. Seems to be happening every time I go to my local IMAX-D (regal) theater. Last thing I want to do is get a ban from my local theater or have my points (over 200k) go poof in retaliation.

May I ask you what local IMAX are you visiting?

[Riddhi2011]

Originally Posted by Spike M.

Even in a purpose built IMAX, the screen's are significantly taller than any content they show outside of a native 15/70mm shot film.

Do IMAX Dcps of 15/70 shot films (like Nolan's) get 1.44:1 DCPs on purpose built auditoriums that have switched to 2K/4K laser? I am asking because one of our old 15/70 purpose built screens is scheduled for an IMAX with laser makeover but the theatre managers have no idea about I had read somewhere of Imax using some special de-squeeze lens that stretches a 1.89:1 DCP back to 1.44:1 in projection.

[ITDEFX101]

Originally Posted by MrsMiniver

May I ask you what local IMAX are you visiting?

Regal in Manassas, VA :\

[ITDEFX101]

Originally Posted by Spike M.

Most IMAX projectors won't fill up the entire screen. IMAX builds their retrofit screens to random aspect ratios to cover as much of the wall space as possible (unless the wall is abnormal), but the projectors themselves are limited to a height of 1.90:1. Even in a purpose built IMAX, the screen's are significantly taller than any content they show outside of a native 15/70mm shot film.

The only time the screen fills the entire height during aspect changes is at the Uvard Hazy IMAX. I can tell a lot of effort went into making that a perfect IMAX screen.

[Spike M.]

Originally Posted by Riddhi2011

Do IMAX Dcps of 15/70 shot films (like Nolan's) get 1.44:1 DCPs on purpose built auditoriums that have switched to 2K/4K laser? I am asking because one of our old 15/70 purpose built screens is scheduled for an IMAX with laser makeover but the theatre managers have no idea about I had read somewhere of Imax using some special de-squeeze lens that stretches a 1.89:1 DCP back to 1.44:1 in projection.

There aren't 2K versions of the IMAX laser systems, but yup, a 15/70mm 1.44 movie will be shown in 1.44.

[Dubstar]

saw 'Kong Skull Island' in IMAX-laser/12-channel at Airbus - loved the IMAX intro and I was sitting in the perfect spot one row up from where I usually sit, a lot of the left/right rear speakers were creating a faux 'directly behind you' sound effect - nice!!

[silentbob]

Originally Posted by Spike M.

You download the DCP (the movie) onto the projector's server and then use a password to unlock it. The password usually came on a USB stick but I was working in an arthouse, not a multiplex, so it might be different. It expires after a certain date, not a certain amount of showtimes, but the studio can keep track of the metadata of the DCP (I don't think they ever do, I'd screen movies for myself all the time and no-one cared). As long as the sound system is set up properly, your job is basically just to make sure the aspect ratio is projected correctly, there are no formatting errors (these are more often than you'd think), and then getting the volume set-up. The problem seems to be that projectionists these days are setting the volume to the movie (which is good, as long as they're using a dialogue scene as the point of reference), but then leaving the trailers at that same level. So people complain. They turn the volume down.

It was the same of at my theater with our digital films. We would either download via Satellite onto a main server or were sent the HDD of the movie to download onto the main server itself. We gradually went from 1 theater to 3, and then a year later to all 12. When we were only 1 or 3 theaters. We had to take the HDD and download it onto the theater drive itself and make up the print from the there. We would also get a HDD drive or 2 with nothing but trailers that we had to sort and select to download. Being Canadian we had to look for the English version, select Scope or Flat presentation, 2D or 3D too. Near the end we were getting the 2K or 4K version to select as well. We also got some trailers on USB/DVDs to download but not many and most would be for the ads playing before hand. Again volume for us depended on the theater and Dolby receiver we had, as some were digital (easily set different volumes) and analog dial. So no one would really run up to change the volume for those guys. The digital were easy to set as the films had four Cue's set for lighting and sound. (same for 35MM and IMAX 70MM as they had a reader that would look for silver tape that we had to add to the proper moments) One Cue setup the projector to open up and show film on screen, setup ratio, slightly dimming the lights, and set volume (if digital) to a lower setting for the trailers. The 2nd was again the same as above dim lights further and up volume for film. The 3rd comes at the beginning of the credits and brings up the lights for people to exit. The 4th just shuts down the projector for a breather until the next show.

The real problem is being understaffed/undertrained. I was working at a four-screen theater that would play two or three different movies on each screen, and I'd still be left alone building the DCP playlists and checking volume levels every Thursday night until about 3:30am on top of my regular shift. When theaters did away with having actual projection staffs, these duties were dropped on managers and whatnot, and those guys have to control 13+ screens in a single night. Things slip past easy, and if no-one complains, or only one person complains during a week of shows...

Before we went all digital they replaced me with managers too. They had 2 things of training and left to thread the 35mm films on their own. Same thing happened to me but someone managers wise (with experience) would examine my work and let me know if i had to fix something or not. This went for a good month when i started, but not so with the managers. I thankfully kept my booth key on me for a bit and would sneak up and inspect their work and i saved their ass countless times and would be yelled at for doing so. Not like they were saving themselves money when they replaced me ($10.50 an hour after 12 years working there) Still i miss my late night 2am shows of movies that didn't get released on screens until 2-3 days later. Saw Spider-Man, Batman Begins, Star Wars: Episode 3, Tron Legacy, Indiana Jones and the Crystal Skull, King Kong and a few others 2-3 days early. I miss those bragging right days with friends


Oh and for complaints. The manager would actually get a report every week from head office (people to complain too as well) about what we did bad. Usually they would send you out a free pass or 2 for your problems.

[ITDEFX101]

Originally Posted by silentbob

Oh and for complaints. The manager would actually get a report every week from head office (people to complain too as well) about what we did bad. Usually they would send you out a free pass or 2 for your problems.

See that doesn't solve the issue... Yeah I got two free IMAX passes for reporting the Kong problem, but I am pretty sure the audio issues have not been resolved as I have seen at least 3 or 4 films spread out during the year at that particular IMAX screen with the same results Trailers too loud, Main Movie too soft.

I don't want to see anyone written up or fired, but if you advertise your IMAX Theater as having the best picture and sound and it doesn't..then you are really asking for trouble. It's funny because ever since Gainesville's RPX opened 4 years ago, attendance has dropped big time at the Manassas one.