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Author Topic: Advice for building a new theatre Tony L. Hernandez Expert Film Handler Posts: 158 From: Windsor, CO, USA Registered: Dec 2005 posted 11-27-2010 08:56 PM                     I understand your concerns. Likewise, if you were suggesting to build an arthouse with NO digital capacity, I would also call that a grave mistake. It is necessary for an arthouse in this day and age to have a theater with full film AND digital capabilities...both are equally important. As far as the different aspect ratios: 1.85 and 2.35 are your standard FLAT and SCOPE, respectively. 1.66 was a format popular format in Europe, until very recently. I still find myself running 1.66 about 10-12 times per year. They are mostly older films however once every blue moon I find myself running some newer 1.66 films. 1.37 was pretty much the standard aspect ratio worldwide until the early 1950s (give or take a few years). These lenses and plates will be useful should you ever run something from that era. I will add that there has been some 1.37 films past that era that have trickled out. "Killer Of Sheep" (1977), 'Eraserhead" (1976) and several of Pat O'Neill's short films (1989-2008) (that I ran last spring when he came to Boulder last year) are a few that come to mind.  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 11-28-2010 07:07 AM                        Animated shorts are often Academy (1.37), even now, as are some video transfers and short films. Every festival has at least one or two of these. Blowups from super-16 are usually 1.66; this continues today. You need to be able to show these formats even if you only play new material. And, yes, Steve is right about 1.75 and/or 1.78 as well.  |  IP: Logged Mike Spaeth Phenomenal Film Handler Posts: 1129 From: Marietta, GA Registered: Jul 2000 posted 11-28-2010 10:09 AM                        Digital is most definately here in the art world. If you do not have a digital print, you severely limit your Manhattan run choices, as AMC & Regal are now digital ONLY on the island. They are not leaving 35mm projectors in place.  |  IP: Logged Martin McCaffery Film God Posts: 2481 From: Montgomery, AL Registered: Jun 99 posted 11-28-2010 10:48 AM                        I agree you have to keep at least one house 35mm. In the grand scheme of things, it is not that expensive, even if you just use it for backup. And though you may not be planning to do older stuff, the indie art market is always in flux, so you never know what may be necessary. Unless something really quirky comes along, you don't have much call for 16mm anymore. Even the Ann Arbor Film Festival does mostly DVD (though you can get a 16mm show from them). We used to run almost all of our foreign films in 1.66. I don't think I've used it in a couple of years now. Subtitles are pretty standardized to the 1.85 frame now and cinematography seems to be also. Steve's suggestion of a 1.75 aperture sounds like a good idea for all but the truly perfectionist cinematography. Be sure to put a good deal of thought and planning into the booth design. Make it projectionist and technician friendly, and not just some hell hole box where the machines are out of sight and out of mind.  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 11-28-2010 11:42 AM                        A few other comments on art-house design: These places tend to host special events for rentals and such. Here are some random wish-list items to consider, at least for the largest screens: - XLR snakes with I/O panels near the screen and at the back of the house, for microphones, return to video camera/tape recorder, etc. - guest input panel for laptop (VGA and DVI) near the screen - electrical outlets near the screen and at the back of house - house light remote control panel in auditorium (maybe behind locked panel) - simple stage lighting system--probably just a spot on a lectern location and a stage wash for performances and lectures - remote fader in auditorium (also maybe behind a locked panel) - separate PA sound system (could be just a mixer in the booth and a powered speaker behind the screen) to protect stage speaker diaphragms from people who don't know how to use microphones (also provides limited backup if cinema system fails for some reason) - large followspot porthole in booth with close-able fire shutter--you might need this someday for a followspot or some other device in addition to existing film and video projectors - motorized masking with preset stops and manual "bump" buttons to adjust as needed (the MDI masking motor control system works well); be sure to include stops for all formats (Movietone, silent, 16mm, Academy, 1.66, 1.75, 1.78, 1.85, 2:1, 2.2, 2.35, and 2.40), even if you don't plan on showing them now - curtains or at least some sort of wash lighting for the screen during intermissions, Q&As, non-film events, etc. - separate CD player for each auditorium to play walk-in music that is appropriate for the film being shown, rather than something generic for all auditoria - if you have cleaning lights, there needs to be some way to switch these off from the booth (or else have them on a timer switch) You can do all of the above--at least in your largest house--fairly inexpensively. Better to do it now than wish that you had done it later. Also, get some extra lens bushings and blank aperture plates and calculate the correct lens sizes for whatever formats you don't install originally; post this list on the wall or in the lens cabinet. This will at least make it easy to rent/borrow/buy lenses as needed.  |  IP: Logged Tony Bandiera Jr Film God Posts: 3067 From: Moreland Idaho Registered: Apr 2004 posted 11-28-2010 11:45 AM                     quote: Mike Spaeth .....as AMC & Regal are now digital ONLY on the island. They are not leaving 35mm projectors in place. And neither of those chains are known for either quality presentations or wise business decisions. (OK Regal has done ok in some locations, but still...) They are NOT a good example of film (or digital, think ETX) done right! I have said it countless times and I'll say it yet again: many of the cinemas I know of who converted to exclusively digital and removed their 35mm, despite having booth space for both, have lost too many shows due to the inability to offer up both formats, either due to technical issues or in more than one case, having to turn away customers because a hotter 35mm was relegated to the smaller auditoria while the digital house was playing to the cockroaches. Stupid in every sense of the word. Edited to add: Scott's suggestions are spot-on, especially the separate PA system!! Heed ALL of them!!  |  IP: Logged Mike Spaeth Phenomenal Film Handler Posts: 1129 From: Marietta, GA Registered: Jul 2000 posted 11-28-2010 12:00 PM                        Regardless of whether they are film done right or not ... the point was digital is becoming necessary for a decent Manhattan run...of the 211 screens in Manhattan, 103 are AMC and 42 are Regal...that's 2/3 of the available screens. I'm not saying to do away with 35mm, but simply saying the digital age will be here quicker than most think...  |  IP: Logged Celine Negrete Film Handler Posts: 70 From: Nevada City, CA Registered: Nov 2009 posted 11-28-2010 01:30 PM                        Ok, so as far as digital is concerned, what kind of equipment would you suggest we be looking at. Also, when you talk of digital being done 'right', where can I see an example of this? Is there someplace in San Francisco or the Bay Area where I can see it 'done right'?  |  IP: Logged Monte L Fullmer Film God Posts: 8367 From: Nampa, Idaho, USA Registered: Nov 2004 posted 11-28-2010 07:02 PM                     quote: Celine Negrete when you talk of digital being done 'right' Find a large name circuit cinema to attend for starters. While you attend this venue, ask the manager to see the booth so you can really get an idea on how it all works. NEC and BARCO's, projectorwise, are good to get into. GDC and Doremi's are good servers to go with these projectors..  |  IP: Logged Manny Montes Master Film Handler Posts: 270 From: United States Registered: Feb 2010 posted 11-28-2010 08:28 PM                     I'd say install the projectors with a slide track, that way you can slide a Dcinema projector in when needed, or a 35mm in when needed. You won't have to do this for every auditorium, yet it will be a good idea to do it for at least one. If cost is an issue than install at least one 35mm house. I don't think you'll need 16mm, unless you want to run archival stuff (which you said you didn't). In terms of arthouse fair, i'd definitely keep a 35mm around for it. Also sloped seating please , and as said before, no common width screens.  |  IP: Logged Manny Knowles "What are these things and WHY are they BLUE???" Posts: 4247 From: Bloomington, IN, USA Registered: Feb 2002 posted 11-29-2010 08:07 AM                     Celine: You asked for "advice" but your responses suggest that you're merely seeking confirmation that your decision -- that's what it is -- to go "all digital" is correct. Add me to the growing list of members who are trying to persuade you that it's a mistake. There's an old saying - "if three people tell you you're drunk, lie down!" Best of luck with the project.  |  IP: Logged Celine Negrete Film Handler Posts: 70 From: Nevada City, CA Registered: Nov 2009 posted 11-29-2010 11:04 AM                        Hi Manny, Actually, you are misreading my comment. I have not made any decisions, and I am asking for advice. Not sure how you got that idea. But, it is absolutely not true. It seems clear that a theatre showing arthouse titles that may be built within the next 12 months would have to have 35mm capabilities (to even be able to book Focus, IFC, etc). What I am saying is that I finally believe it is only a matter of time before digital will be necessary. And, the time is coming sooner than I would have guessed a year ago. And, to not prepare and plan for it when building a new project is to be financially doomed. So, once again, I am looking for advice. And "wish lists" from projectionists if they could build a theatre from the scratch.  |  IP: Logged Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 11-29-2010 11:56 AM                        Idea/question: I'm not sure of the current state of DCI implementation, but would it be feasable to install a D-cinema video projector in each auditorium, but only buy one D-cinema server that could be moved amongst them? Is this permitted? Has anyone done it? If so, were there any implementation issues? I'm thinking of something along the lines of those blue rolly racks that people used to use (and might still use) to move digital film sound equipment around in a multiplex. In a venue like this that needs video capability anyway, I could see doing something like this for now and then possibly adding more servers later as more DCI material becomes available.  |  IP: Logged Joe Redifer You need a beating today Posts: 12859 From: Denver, Colorado Registered: May 99 posted 11-29-2010 02:18 PM                        quote: Scott Norwood Is this permitted? It's a shame that this question even needs to be asked. I don't need anyone's permission to move a Dolby Digital unit from one house to the others, but nowadays theaters don't have control over their own complexes and doing this might get you into heaps of trouble with who-knows.  |  IP: Logged Matt Fields Jedi Master Film Handler Posts: 545 From: Ohio, United States Registered: Jun 2005 posted 11-29-2010 05:25 PM                     Scott- I think that is possible. Keys are server specific, not projector specific.  |  IP: Logged

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