Film-Tech Forum ARCHIVE: AMC StoneBriar 24 Equipment

This is topic AMC StoneBriar 24 Equipment in forum Film Handlers' Forum at Film-Tech Forum ARCHIVE.

To visit this topic, use this URL:
https://ft-forum.com/ft/cgi-bin/ubb/ultimatebb.cgi?ubb=get_topic;f=1;t=001250

Posted by Paul Konen (Member # 41) on 07-31-2000, 09:17 PM:

Just visited the newest multiplex in the Dallas-Fort Worth area and here is what they have

Stong Platters
Christie Lamphouse
Simplex Millenium Projector Head

The heads are neat in that they have a glass panel on the gear side (non-operator) that you can see the oil spray and gear operation.
http://www.strong-cinema.com//html/projectors.html#simplex

They have the new Sony SDDS reader DFP-R3000(no cover) and Sony 8 Channel processors. DFP-D3000. Did you know that the print title is encoded in the SDDS track. It shows it on the Processor screen.
http://www.sdds.com/new/index.html

New QSC DCM Amps and Monitor. Makes wiring a lot more easier because of color coding. Alot neater too. It terminates into a wire box on the wall. No wire nuts, etc.
http://www.qscaudio.com/products/amps/dca/dcmintro.htm

Posted by Brad Miller (Member # 2) on 07-31-2000, 11:38 PM:

Congratulations to AMC for mixing and matching and not just going with a bulk package deal. What kind of automation did they have?

Where are the pics?

Posted by Phil Hill (Member # 371) on 07-31-2000, 11:48 PM:

Thanks for all the VENDOR links instead of the booth pics......

Posted by Paul Konen (Member # 41) on 08-01-2000, 07:21 AM:

I will see about getting some pictures in the future. I went to see a Cinemark guy that works there now.

The automation I believe is the CNA-2000 (?) It has a LCD display and you tell it when to do this, when to do that, etc.

Oh yeah, an Optical Failsafe.

Sorry I didn't get more precise with manufacturers on this one.

One drawback is the port windows. They are about 6 ft wide and 4 ft tall. 2/3 is tilted back for the slide projector and projector, other 1/3 is operator side straight up and down. They all generally start around the knees. There is an incredible amount of light leak from the booth into the theatre and onto the screen. They are thinking of putting masonite or some kind of covering to help rid itself of the excess light.

One other thing, one side of the booth is large enough were you could probably put a 1/2 basketball court in. It's huge. Also traditional no ceiling, concrete floors.

Posted by Brad Miller (Member # 2) on 08-01-2000, 08:34 AM:

Many AMC theaters in Dallas have had to resort to hanging black cloth over the window to keep booth light out of the auditorium. Anyone know exactly why AMC feels the need to make those ports quite so large?

Posted by Jason Burroughs (Member # 68) on 08-01-2000, 11:20 AM:

Brad,

When I opened the Grand in Dallas, we had those large port windows, It was told to us that it was the result of planning for the future. They wanted to be able to stick 2 projectors side by side (film & digital) without having to carve the theatre up later. One thing I will give the ports that AMC uses is that they are pretty sound tight, and since they do not open prevent operators from being tempted to open them during the movie. To go around that they had to put a 2 PVC pipe through the booth wall to allow for mic wires etc to be passed into the auditorium. We had some light problems but not too many. Only thing I would like to have changed in the design of the booth is an acoustic ceiling. It helps quieten the noise quite a bit. Also at the Grand the Booth is 1 giant return duct for the AC system. So all the dust ect from the auditoriums end up in the booth. The AC system at the grand was woefuly underplanned with it opened We had only 6 AC units for a 24 screen theatre, using high velocity directed ducting, They ended up having to go back and put a chilled water system to add to the cooling capabilities of the AC system.

Posted by Dave Cutler (Member # 515) on 08-01-2000, 11:33 AM:

Speaking of port glass in AMC booths. This may be a really silly question, but is port glass designed to be installed a certain way?

The reason I ask is this. At the BarryWoods 24 in Kansas City you can stand in the booth and yell into the auditorium and be heard quite easily, but if you are standing right next to the glass on the auditorium screaming at the top of your lungs you CANNOT be heard in the booth. This all means that you can hear every projector in every auditorium and it is very annoying.

Anyone know what the reason might be?

I wish the DID open, I can't get some of my projectionists to CLEAN the port glass because they won't stand on the tops of the auditorium seats.

Posted by Dave Cutler (Member # 515) on 08-01-2000, 11:50 AM:

Automation at the StoneBriar is most likely the Strong Cinemation CNA-200. AMC has installed it exclusivly since it's came on the market in 1997. It's a good automation, I haven't had any major problems with it.

Posted by John Pytlak (Member # 331) on 08-01-2000, 11:59 AM:

Dave:

I doubt that the sound transmission of the port glass differs whether the sound is going from the booth to the auditorium, or vice-versa. I suspect the reason for your observation is that the smaller area of the booth concentrates its sounds on the glass, but the very large area of the auditorium dissipates its sounds before it hits the glass. Also, there is alot of background noise in the booth, whereas the auditorium is relatively quiet.

With very large ports, it's almost mandatory that at least two panes of port glass be used, and that they be acoustically sealed.

Cinema Equipment Sales has the THX suggestions for projection ports on-line on their Tech Pages, under THX Architectural Suggestions: http://www.cinemaequipmentsales.com/.

------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Eastman Kodak Company
Research Labs, Building 69, Room 7419
Rochester, New York, 14650-1922 USA
Tel: 716-477-5325 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com

Posted by Greg Pauley (Member # 503) on 08-01-2000, 12:00 PM:

I just came up with a pretty good solution for leaking light thru the port windows. I'll start a new thread and show some pictures of my idea over the next couple of days.

Posted by Scott Norwood (Member # 30) on 08-01-2000, 12:25 PM:

I really don't get the idea behind the large port windows that seem to be so common in newly constructed theatres. I agree that light and sound leakage are major problems in such installations. Also, optical-quality glass would be tremendously expensive in the large sizes.

The "need for two projectors in one booth" justification doesn't make much sense, either. In the older theatres where I have worked, the ports were no larger than 12" square, with two ports per projector (one for projection, one for viewing), and sometimes a third large port with a drop-down shutter for a spotlight.

Posted by Gordon McLeod (Member # 33) on 08-01-2000, 12:39 PM:

With the very short focal lengths of most lens it isn't uncommon for the image on the port to be 2 or 3 feet in width. With all the sloppy construction techniques by making the windows even oversized allows for errors in positioning the machine to be corrected easilly.

Posted by Gregory Brannon (Member # 405) on 08-01-2000, 07:00 PM:

Paul, I visited the AMC Grapevine Mills 30 a few weeks ago and talked to a manager there that was going to be one of the manager at the new AMC Stonebriar 24. He told me some impressive features for the theatre such as Radius Seating, double wide rows and supposedly new revised Tourus Screens that aren't curved at the top and bottom like the older AMC builds. However I forgot to ask him two questions that you may can answer for me. Will Stonebriar have a Digital Projector or will Cinemark Legacy remain the sole DLP theatre in the Dallas area. And will Hollow Man run in SDDS 8 Channel for their grand opening? I am going there tomorrow night for a Charity Pre Grand Opening and I'm looking forward to experiencing the newest AMC. FYI that manager that I spoke with also told me that they are putting in new seats in The AMC Grand. Now if only they could get rid of those old bench style seats at Grapevine Mills.

Posted by Joe Redifer (Member # 3) on 08-01-2000, 10:09 PM:

Perhaps if theatre companies feel the need to install such large port windows, they could also install sliders to limit the light leakage as well. Just slide the doors open to the projector you are going to use, and only enough for the light to get from the lens onto the screen. There should always be a separate observation window.

Posted by Paul Konen (Member # 41) on 08-01-2000, 10:25 PM:

I didn't see any additional outlets to allow for the DLP projector to be positioned everywhere so I would assume that Legacy will be the only DLP for a while.

I believe the seating is somewhat unique. I wouldn't say that the seating is double wide, the seats are actually standard width. Maybe they were referring to the walking space between rows because the seats don't flip up.

I would say that the screens are normal theatrical curved screens. They are NOT perforated. They are NOT the "sucking" screens.

A funny note about the port glass, there is a hole with a 2" hole with a sliding cover so you can hear the sound.

I agree with the earlier post in regards to cleaning the port glass. It would be quite the effort to clean the theatre side of the glass.

In regards to the automation, they are talking about running 3 shifts per day, 1 persons opens, 1 mid shift and 1 closer. Does this mean that the automation will start the projector at the right time or is it still a manual start.

It would be quite the effort to thread and start 24 screens on your own without timers.

My family and I may be at the Wed event also.

Paul.

Posted by Nic Margherio (Member # 273) on 08-01-2000, 10:28 PM:

I am very suprised to learn that AMC now uses Christie lamphouses, for years all their new complexes were exclusively Strong. I have always considered the Stong Highlight II lamphouse to be the "weak link in the chain" as far as our projection equiptment goes.

As for Torus screens, AMC does not install them anymore, nor do they install any kind of "revision" to it either.

The Sony DFP-3000 reads and displays text information encoded on the S-side of an SDDS soundtrack. This ties in with the "Fader Automation" feature which allows one to store different fader levels for each trailer (or reel as the case may be). This is a VERY powerful tool to combat excessive trailer levels. At my theatre, each and every trailer is played at -4dB, and "problem" trailers are played at -8dB. Automatically. Every show. Every day.

Posted by Randy Stankey (Member # 64) on 08-01-2000, 10:40 PM:

I don't see a problem with three guys running 24 screens if it is done right.

Opener comes in early to thread. I like this sometimes because people won't bug you and you can just do your work by yourself. Once all are threaded, you just have to start them. Can be done by one guy.

Mid-shifter comes in at about 2pm. Just before the first round starts to end. Two guys run the place until about 6pm.

Closer comes in at 6. Opener goes home. Two guys run the booth until the last show of the night starts. Mid-shifter goes home.

Closer baby sits the last shows, and shuts down. Since the movies drop one at a time, any cleaning can be done as they drop. A guy who stays on top of things will often find that he has time to go out and have a quick smoke.

The caveat is that you have to be good enough that no mistakes are made. Once you get behind, you could be in trouble. Breakdowns are a factor, too but that should be rare enough to be a minor concern.

Posted by Dave Cutler (Member # 515) on 08-02-2000, 08:43 AM:

Gregory, more than likely the StoneBriar will have atleast 8 SDDS-8 houses. That's standard procedure for AMC. The four middle 'big' houses will all be SDDS-8 as well as the two biggest on each wing. If the house numbering is consistant, you will be looking for houses 4, 5, 11, 12, 13, 14, 20 & 21 for SDDS-8.

Paul, are you sure that NONE of the screens are perforated. AMC typically installs a variety of screen in one complex. Here at BarryWoods 24 I have 3 different types of screens. There is a 2" hole in the port glass? How do they keep the projector noise from leaking into the auditorium?

Running a 24+ plex with 3 shift is not that hard. I have one opener come in 1 hour before the first show to thread all 24. They start the first round alone (they are usually someone with enough experience to not have a problem). They also run the 2nd psuedo round alone (all the short movies that have that extra show time). 2nd shift starts at 4:00 and they work untill just after 10:00 when the last show starts. Closer comes in at 6:00 and closes down the building alone. If I have someone less experienced they only work the 4-10 shift untill they are up to speed. Thursday, Friday and Saturdays are a different story though. On Thursday I am in as a non-operator so I can make sure everything is built, screened and torndown. On Friday and Saturday I try and have two openers and two closers as well as the 3rd non-op person on Fri and Sat night to 'trouble shoot' (usually me).

Posted by Gordon McLeod (Member # 33) on 08-02-2000, 08:53 AM:

At most of the AMC's here in Ontario the 4 big screens in the centre are solid with 3 full range and one sub on the top above the sheet and 5 surrounds on each side wall and no rear channel. The three largest on each outside end are perforated screens with 3 stage channels
the rest are solid with the speakers above the screen and 3 surrounds on each side wall

Posted by John Pytlak (Member # 331) on 08-02-2000, 09:03 AM:

Why would anyone use a non-perforated screen, except for a Torus Screen, where you need to suck the screen into the compound curve? Yes, the perforations might be visible "close up" and cost a bit of light, but not being able to mount the speakers behind the screen is a real issue for sound placement.

The only other issue I have heard regarding perforated screens that might give reason for an unperforated screen is "interference" with the pixel structure of Digital Cinema projectors. I recall that Harkness Hall actually had to develop a new smaller perforation to minimize interference with the pixels, known as the "MP" (mini-perforation) screen: http://www.harknesshall.com/data1.htm

Posted by Paul Konen (Member # 41) on 08-02-2000, 09:12 AM:

I checked a couple of the screens and they were not perforated.

The two inch hole has a sliding cover on it to close when not in use.

I forgot about one thing. The Millenium head has a rubber type pad roller that directly contacts the image area to provide pressure to the soundhead for turning. Unlike the Christie that has an o-ring that rides on the perforation to provide sound head rotation.
This could be a problem if the rubber pad is not kept free of debris.

Posted by John Pytlak (Member # 331) on 08-02-2000, 09:51 AM:

Paul said:

"I forgot about one thing. The Millenium head has a rubber type pad roller that directly contacts the image area to provide pressure to the soundhead for turning. Unlike the Christie that has an o-ring that rides on the perforation to provide sound head rotation. This could be a problem if the rubber pad is not kept free of debris."

I agree that it is very important to keep anything that contacts the image area of the film free of anything that may abrade or damage the film surface. However, in my experience, if the "rubber" is soft enough, and the roller turns freely without film slipping against it, the risk of damage is low. With age, these types of rollers may harden or develop flat spots, and should be replaced when they do. I find an excellent cleaner for these surfaces is 90+ percent isopropyl (rubbing) alcohol using a clean dampened wipe. (The "pre-moistened" alcohol wipes or pads sold to clean CRT screens and tape recorder capstans work well). Keep the alcohol (or ANY solvent) away from bearings.

Posted by Gordon McLeod (Member # 33) on 08-02-2000, 10:27 AM:

MG Chemicals makes an excellent product for use with the rubber pinch roller called rubber reneuw
It will resoften and swell back up shrunken and hardend rollers and tape head capstans

Posted by David Koegel (Member # 25) on 08-02-2000, 11:27 AM:

Gordon: By any chance, do you have some contact information for MG Chemicals? I can think of many uses for "rubber renew" outside the booth. [and NO, I wasn't thinking about inside the bedroom either

] - David

Posted by John Pytlak (Member # 331) on 08-02-2000, 12:23 PM:

David:

Here's a link that I found for "Rubber Renue" :
CLICK HERE

Posted by Brad Miller (Member # 2) on 08-02-2000, 12:40 PM:

I still maintain the BEST way to solve that rubber pinch roller problem is to remove the damn thing all together. Take a media cleaner rubber shaft insert and trim it to size (just barely over the width of the original pinch roller), install it in it's place and re-do the A-chain. From there, you will NEVER have to pay it any attention again and you don't have to make sure you open the sound gates at night to prevent flat spots on the roller either (which make for a nasty wow in the sound).

Pat Moore,

Any chance something similar could be standard on future machines?

Posted by Kevin Crawford (Member # 469) on 08-02-2000, 01:26 PM:

Brad, what is the difference in the film cleaning roller, vs the simplex roller?

I have noticed that my film cleaning rollers have swollen up by using film guard. Actually, that is my only complaint with it. It far exceeded my expectations. However, I have to take the cardboard tubes off with a screw driver now. Wouldn't an oily environment, such as an uncleaned projector, make these swell?

Posted by Brad Miller (Member # 2) on 08-02-2000, 01:37 PM:

I haven't notice it in regards to the Simplex drums and I was at one theater for 5 years straight using FilmGuard (before it's release and before I realized I could use that modification I described above) without any problems.

Use the plastic takeup cores that come with the Fim-Tech media pads or that come enclosed with the FilmGuard bottles as takeup cores. That will solve your problem permanently.

Posted by Gordon McLeod (Member # 33) on 08-02-2000, 02:09 PM:

here is the link to rubber renue http://www.mgchemicals.com/products/408a.html

Posted by Jason Burroughs (Member # 68) on 08-03-2000, 11:43 AM:

The AMC Grand 24 in Dallas was AMC's 1st ultra-megaplex, actually the first in the nation. So I would imagine that they learned quite a bit from it, although it looks like they kept the same general layout design. The largest screens are Torus, SDDS-8, DTS and Dolby Digital, with the DTS and Dolby processors being on rolling mini sound racks. The bigger auditoriums are 1, 6, 9, 12, 13, 16, 19, 24. also the 2 smallest auditoriums are equiped to handle the DTS and Dolby formats as well (#5 and 20) All sound racks consisted of Ultra Stero processors (No SR) Ultra Stero booth monitors /lamp excitors, and Crown amps in a tri-amped configuration. ALL screens were not perforated and had the highs and mids mounted above the screen and the LF and subs below the screen. 1 surround speaker on each side of the auditorium, Tiled booth floor, and open ceiling (no acoustical ceiling) with the booth essentially being the return duct for the AC/system as well. All projectors A/C were done by twist and lock connectors, so the projectors could be easilly moved if necessary. also an additional connector was installed at certian auditorums to accomodate future projectors, which was used for an interactive digial presentation ( I don't remember the name of it) where both projectors sat side by side. This was when the theatre opened and I'm sure things have changed since, to some degree.

Posted by Pat Moore (Member # 380) on 08-04-2000, 03:12 AM:

Oops -- found me again.
Actually, there has been a project to redo this area of the soundhead. It was part of a project to make a single hybrid of the Simplex and Century designs. Too many things and too little time so though it's not a dead project, it's not one we are jumping all over either, to be honest.
I have talked with our engineering guys and we'll visit this again when I get back to Omaha. I don't think it should be too difficult to make this a tight-loop system.
That said, is that G1985 roller that hard to clean? I've heard of occasional claims of film damage but let's also remember there are >25,000 of these things out there.
I'll let you know in a few days on this -- or if I don't, throw me a gentle reminder, okay?

Pat

Posted by Jason Burroughs (Member # 68) on 08-04-2000, 10:53 AM:

I can always tell when a film has been run through a Simplex soundhead. It has a skidmark down the center of the image throughout the entire movie. Its not that its hard to clean, but with the popcorn projectionists out there, they DON'T get cleaned. Plus the flat spot factor that Brad mentioned. Other than that its a darn good soundhead

Posted by Brad Miller (Member # 2) on 08-04-2000, 04:42 PM:

I have found when cleaning up older prints that I can tell if it was ran through a Simplex soundhead (or an SH-1000 or any soundhead with that idler roller on it) because generally after a single pass of cleaning, there is a nice clean edge (projected right side) of the picture and the middle of it still is crudded up with embedded dirt into the emulsion, coincidentally always exactly the same width as that idler roller. It always takes many, many cleanings to get that embedded dirt out.

Pat, I really don't think changing the soundhead completely over to a tight-loop design is all that important. Just change that idler roller to a spacer that won't come into contact with the film. The modification I described previously workes quite nicely. Give it a shot in the factory and let me know what you find.

Posted by Gordon McLeod (Member # 33) on 08-04-2000, 05:18 PM:

Pat
personally of all your soundheads you make I like the Model 7 the best

Posted by Pat Moore (Member # 380) on 08-06-2000, 02:24 PM:

Thanks, Gordon. There are a few Model VII fans out there -- nice simple soundhead and it's operating characteristics aren't too bad. I think the fact that it's driven by the projector (in Ballantyne installations) helped that performance and reliability -- there just wasn't too much to go wrong.

Pat

Posted by Gregory Brannon (Member # 405) on 08-22-2000, 08:33 PM:

Paul, Does the Stonebriar 24 has Dolby Digital and DTS equipped auditoriums or is all of the auditioriums equipped for SDDS only. I saw Hollow Man in Auditorium 17 the first week and I believe there was drop out in the print. The picture faded to a blueish tint and the volume started to decrease slowly until it was only coming from the center channel and was barely audible. Did you happen to check it out and notice it. Other than that the presentations there of Coyote Ugly, Space Cowboys and The Cell has been great. I also notice that the surrounds are located at the top of the ceiling like older AMC's. They are located almost mid level along the wall now. I still detect a slight echo in the auditoriums but not as bad as previous builds of AMC's.

Posted by John Pytlak (Member # 331) on 08-23-2000, 05:38 AM:

Gregory Brannon said: "I saw Hollow Man in Auditorium 17 the first week and I believe there was drop out in the print. The picture faded to a blueish tint and the volume started to decrease slowly until it was only coming from the center channel and was barely audible."

From Greg's description, this print had severe safelight fog, which usually shows up as a "blueish tint", and may interfere with the soundtracks. The defective reel should have been returned for replacement.

Labs handle unexposed print film in darkrooms lit with low levels of amber-colored light from low pressure sodium vapor (589 nanometres), amber LEDs, or Kodak Series 8 safelight filters. If the film is accidently exposed to the light for too long (e.g., during a machine stop), these safelights can fog the magenta and cyan layers.

FYI, if unexposed print film is accidently exposed to red light (e.g., red LED status displays on equipment), the fog is cyan in color. White light would produce yellow or dark brown fogging.

Posted by Paul Konen (Member # 41) on 08-23-2000, 08:22 AM:

I don't work there but know a couple of the UB's.

All auditoriums are SDDS only.

Posted by Dave Cutler (Member # 515) on 08-24-2000, 11:21 AM:

All the auditoriums are SDDS only? I find that strange. I thought that all AMC megaplex's had SRD or DTS (sometimes both) in all of the center houses in addition to SDDS-8. That way when certain movies come mandated "must play in ***" they were covered.

Posted by Paul Konen (Member # 41) on 08-24-2000, 12:03 PM:

If I remember correctly, they all were SDDS. What they want is DTS or SRD on a cart to move around if they need it.

Paul.

Posted by Mike Spaeth (Member # 524) on 08-24-2000, 07:26 PM:

Is this the new AMC in Plano? If so, I understand that it had a VERY soft opening. Can anyone confirm or deny? I was just wondering how well they were cutting into Cinemark's home turf. From what I understand, we own Plano... But I could be wrong...

Posted by Paul Konen (Member # 41) on 08-25-2000, 08:18 AM:

From what I have heard, that it hasn't really cut into Tinseltown that much.

Cinemark has 2 theatres with 44 screens in Plano, a 20 Screen Tinseltown and a 24 screen (where I work).
Plano also has:
10 screen sub run (formally Cinemark)
11 screens / 2 threatre Loews Complex
7 screen Studio Movie Grill

It used to have a 7 Screen AMC, 6 GCC, and a 8 screen UA that is now the 7 movie grill above.

Hope that helps you.

Posted by Gregory Brannon (Member # 405) on 08-25-2000, 08:34 AM:

I've heard just about the same comments as Paul mentioned. I visited the theatre every weekend since it's Aug. 4 opening. And it seems to have the traditional mall crowd with customers catching a movie as an addition to their shopping trip to the mall on which it sits atop. The customers I've noticed there have brought in their shopping bags and bring their kids. So it hasn't established a pure movie crowd yet( if there is a such term). Plus the conversations that I've heard from people while sitting waiting for a feature to start ranges from "The auditorium is nice but the seats don't rock and recline like Cinemark Tinsletown down the street." I personally like AMC theatres(I know that will illicit a bunch of hate mails). I like them because of the movie watcher programs which rewards people like me who catches 2 to 3 movies a weekend and I like the curved screens in all auditoriums where Cinemark biggest auditoriums have curved screens. Don't get me wrong. I think Cinemark Theatres are nice especially The Cinemark Legacy which is one of their new designs. But I'm in equal distance to both of Plano's Cinemark Theatres and the AMC in Frisco. But I've been visiting the AMC Stonebriar because the two Plano Cinemark are very crowded on weekends. If you don't get tickets in advance at those theatres for a weekend show. You forget seeing a movie. Where as the AMC Stonebriar has yet to my knowledge have a sell out on the weekend. I've heard that the theatre industry will be watching the performance of AMC Stonebriar since it is 5 miles from Tinsletown and 9 from The Legacy. I questioned why AMC didn't build it as a free standing Megaplex. Personally I'm not a big fan of mall based theatres because they seem to be exceptioned in design. I don't know if it's my imagination but Paul give me your opinion. But the AMC Stonebriar seems to have a lower floor to ceiling ratio compared to their other 3 Megaplexes in the Dallas area. Anyway, I'm starting to ramble on. But I hope that I have answered you're question.

Posted by Jason Burroughs (Member # 68) on 08-25-2000, 01:26 PM:

Not to mention that Stonebriar is not very visable and is not obviously easy to get to, its also on the 3rd FLOOR of the mall, all by itself. I've only seen the lobby of it, and to say the least I'm not impressed, Extreemly little lobby floor space, It seems obvious that AMC did not plan this theater very well, especially if they wanted it to be a big hit. I can't speak for other parts of the country, but AMC does have a BAD reputation here in Dallas, they are well known for poorly treated prints and buildings.

Posted by Brian Lange (Member # 580) on 08-25-2000, 01:34 PM:

I used to be the booth manager of AMC Southroads 20 in Tulsa OK. AMC uses such large port glasses because they figure they can knock out the slide proj. window, proj window and projectionist window out all with one window. They used to not have a light problem since they used to run their booths dark, using only spot lights on the projectors. Eventually we didnt like working in the dark so we desided to go buy some black material and cover our port glasses so that we could then turn the lights on while the booth was in operation. Eventually corperate came through and liked out idea and made it manditory for all theaters to have them. Yes, thats right, I am the inventor of the black curtain of AMC theaters. Its quite simple really. We just hang the curtain up and shine the lamp on the curtain and then cut out a hole for the lamp to shine through. We stapled the curtains up with a staple gun. Thats right! We rigged them. Give me some staples and tape and i can do anything in booth. I cant forget about my Gerber knife. The Gerber keeps you from having to find those tools that managers steal from you to take to concession.

------------------

Posted by Gregory Brannon (Member # 405) on 08-25-2000, 02:19 PM:

Paul, I've often wondered if The Cinemark Legacy has Dolby Digital Surround EX in either of their two big auditoriums 12 or 13? To my knowledge the only theatres in Dallas that have advertised DD Surround EX are General Cinema Irving Mall 14 which played The Phantom Menance there and United Artist MacArthur Marketplace that supposedly played Fight Club in DD Surround EX.

Posted by Brad Miller (Member # 2) on 08-26-2000, 02:08 AM:

What mall is this AMC Stonebriar in?

Posted by Gregory Brannon (Member # 405) on 08-26-2000, 07:47 AM:

It's located at the new Stonebriar Centre in Frisco,Texas a suburb north of Dallas at the intersection of HWY 121 and Preston Road or you can get to it via Dallas Tollway North and turn east on HWY 121. The theatre is on top of the mall solely located on the 3rd Floor. You won't be able to miss the mall because it's huge and the AMC logo sits along the top wall outside the mall.

Posted by Paul Konen (Member # 41) on 08-27-2000, 01:16 AM:

Legacy does not have EX at all.

Tinseltown has/had it in #10 for SW-EP1.

Posted by Jason Burroughs (Member # 68) on 08-28-2000, 04:07 PM:

Went back out to Stonebriar over the weekend, saw Spacecowboys, to my complete amazement, there were NO scratches! however there was PLENTY of dirt, an not just small specks, I'm talking industrial stregnth size dirt, It REALLY looked like they have not yet discovered FilmGuard, the auditorium was typical AMC stadium seating, one thing that was interresting was that there was NO suspended ceiling in the lobby or hallways, leaving the "guts" exposed, but all painted flat black. The digital dropped out on many occasions, guess the DFP-3000 isn't that much of an improvement, sound quality was pretty decent other wise, if AMC still has the same tech, there in good hands Mike is a GREAT tech, he's just spread WAY too thin

Posted by Nic Margherio (Member # 273) on 08-28-2000, 11:10 PM:

Jason, its been my experience that the DFP-3000 IS a significant improvement. I moved from an older style AMC megaplex (with the DFP-2000) to a newer one (with the DFP-3000) about a year ago. We did have a couple problems with it to begin with, but they have all been resolved and we have gotten very solid performance out of it for several months now. The only problems we have now arise only from poorly produced reels - and no more than you would expect with Dolby Digital.

I suspect, especially since you say the tech there is good, that the problem lies with the booth staff (and poorly produced prints)- just as it is with so many other AMCs. Most likely they recieved bad reels and did not do anything about them, and they certainly don't maintain their prints if they are all full of dirt. I assure you that the DFP-3000 is a significant step up in design and execution than the DFP-2000.

At least thats been my experience so far...

Posted by Paul Konen (Member # 41) on 08-29-2000, 07:55 AM:

Jason, They were supposed to be ordering Film-Guard. Bill Mantz who came from my theatre was having the GM order it.