Film-Tech Forum ARCHIVE: Advice for building a new theatre

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Posted by Celine Negrete (Member # 5531) on 11-27-2010, 02:25 PM:

Ok, so if you had the chance to build a new theatre complex I would love to hear some ideas of things you would AND would not do.

A couple of 'facts' to keep in mind for the type of project I am most interested in hearing ideas about:

-the theatre would show mostly arthouse films, along with a few 'crossover' films of the type that often play at a Landmark and a Regal (ie THE TOWN)
-square footage limits the theatre to 3-4 screens of ~80-100 seats each
-beer/wine bar, plus tapas bar being considered
-theatre would be located in a small town that is also a tourist destination year-round
-theatre considering all digital houses

Even though I have offered up some 'facts', I am still interested in hearing ideas that are counter to the description above. Imagine you don't have to worry about financing this project, but the costs do need to be within reason, as in make financial sense.

I am really interested in hearing the booth ideas. Remember, this is starting from 'scratch' so no need to bring in old equipment. You can start with any option. Would you go all digital?

Finally, I ask that this post be considered as simply looking for ideas on a theoretical project. [Smile]

Thanks!

Posted by Rick Raskin (Member # 1561) on 11-27-2010, 02:33 PM:

I think all digital would be a mistake given the programming you want to run and the likelihood that digital copies may not be available. I'd install 35mm and 16mm in at least one of the screens.

Posted by Celine Negrete (Member # 5531) on 11-27-2010, 02:38 PM:

Right now, as far as I can tell, all of Sony Pictures Classics are available digitally. There is also Emerging Pictures which carries a lot of the arthouse distributors product digitally, but requires their equipment.

And, this idea would be ~12 months away...who knows what will have changed by then in terms of digital availability? It seems like it is just a matter of time before most titles will be available, yes? I know it is a debated subject.

Posted by Tony Bandiera Jr (Member # 2365) on 11-27-2010, 02:50 PM:

quote: Celine Negrete
And, this idea would be ~12 months away...who knows what will have changed by then in terms of digital availability? It seems like it is just a matter of time before most titles will be available, yes? I know it is a debated subject.

Celine, the timeline is totally irrelevant in the matter of media..there are thousands or tens of thousands of arthouse titles that will likely NEVER be converted to digital!

Do not make the mistake of omitting 35mm or even 16mm projection or you will severely limit your programming choices.

Even first run should leave some 35mm capability for limited releases or emergency use when the DLP goes down.

Finally, after talking to numerous art film directors/producers over the years, many have a hatred of digital and would never produce or allow exhibition of their works on DLP.

It also makes no sense to not include 35/16 capability as used in good condition equipment can be had cheap with the current digital rollout.

With all that said, it would be very wise to INCLUDE digital projection, but make sure your DCI compliant machine can accept standard video sources as well.

Posted by Celine Negrete (Member # 5531) on 11-27-2010, 03:33 PM:

Hi Tony,

Thanks for the input. I guess I should have added that this theatre would not be showing 'older' arthouse fare...the kind you talk about never being converted, but just first-run. Though many (or all?) Criterion titles are available on Emerging.

After over 10 years of arthouse programming at my current theatre, we have never shown 16. The two local film festivals do not show 35 or 16 for any of the titles.

I know this is a 'heated' subject, and believe me after working in a booth for 8 years (previously, in San Francisco), I have a large place in my heart for 35mm, but as for directors/producers saying they will "never" produce or allow exhibition of their works on DLP...well, that just sounds like someone who is likely to retire prematurely, IMHO.

I would love to be proven wrong.

That being said, I agree about having some 35mm capability for limited releases or emergencies at this point.

Posted by Steve Guttag (Member # 268) on 11-27-2010, 06:37 PM:

16mm has definitely fallen on hard times. There are a few times when it was the only format or the best format available in the past few years but it is an expensive format to keep around, at the professional level.

Not having 35mm would be a big mistake and not having it will definitely limit your movie choices in the foreseeable future.

If you can luck into a an FP38E projector or two...then 16mm can come along for the ride...great...but I would hesitate installing it or making any big plans around having it at the expense of most anything else.

Mind you...I love the 16mm format and prefer it to most SD video and much HD video for documentaries but the realities are...most 16mm prints are bad dupes and have questionable sound and image qualities.

-Steve

Posted by Scott Norwood (Member # 30) on 11-27-2010, 07:36 PM:

The Emerging Pictures stuff is not D-cinema quality. I don't know the details, but it looked pretty bad to me when I saw it (from a booth) a year or two ago.

As for the current state of art house programming: you will need a bunch of formats. This is less of an issue if you have a multi-screen venue, as not every screen needs to be able to accommodate every format. It is a must to have 35mm (I have no doubt that the art-house circuit will be the last holdouts for 35mm). You will need at least four formats (Academy, 1.66, 1.85, and scope). You will also need SD and HD video with, at minimum, DVD and Blu-Ray capability, with guest inputs for component analog, SD-SDI, and HD-SDI. I wouldn't worry about D-cinema at this time; unlike mainstream theatres (where 3D is a notable advantage), there is no compelling reason to have it for an art house. For this sort of venue, it would be more useful to have Digi-Beta and HDCAM capability.

As for sound, SRD is pretty much standard now, even in smaller venues, and you would be at a disadvantage with only optical stereo. Dolby E would be a nice-to-have for video material, but isn't a must.

If you really have no plans to show older films, ever, then you can forgo this, but I would want to have changeover capability on at least one screen for special screenings of archive prints. You don't need it for a first-run-only house, however.

Unless you are doing film festivals, repertory screenings, or student films, I would not bother with 16mm. At most, I would get a pair of portable xenon projectors and appropriate lenses and keep them in storage in case you ever need them, but there isn't much call to show new material in 16mm at this time, unfortunately.

Posted by Celine Negrete (Member # 5531) on 11-27-2010, 08:20 PM:

Curious about the Academy and 1:66. I have yet to have a single print come through in either of those. Are those of you running an arthouse getting those prints? When was the last title?

Posted by Joe Redifer (Member # 3) on 11-27-2010, 08:25 PM:

As an arthouse, we have 35mm only. We have only ever run one movie on video (The Infidel). Most prints are flat or scope, not the crazy wide potpourri of aspect ratios that many seem to indicate. Granted, we are not hardcore arthouse. We don't show a lot of the foreign stuff. Most prints have Dolby Digital, very few have we needed to run in analog due to no Dolby Digital track.

Posted by Tony L. Hernandez (Member # 3524) on 11-27-2010, 08:29 PM:

I agree with the others on here as far as the importance of installing film equipment in this theater.

Celine, First of all, for a good while to come, there IS and WILL be plenty of films (even speaking strictly of brand-new arthouse fair) that will only be available on 35mm. As Tony B. said, there are plenty of directors and producers who will not allow their films to hit theaters in digital. And that is not going to threaten their careers. They poured their blood,sweat and tears into the movie (not to mention a small fortune of money) and that gives them the right to dictate what format their film is distributed on. This is not going to change anytime in the near future.
I know from your 2nd post in this thread that you stated that you would never be screening anything from the past but please keep in mind that in this business, no plans can be set in stone. Everything changes and much as you may intend to only show current arthouse fare, occasionally business WILL dictate that you show a film that is slightly older or perhaps even a classic. Even many of the mega-plexes around that were initially built to screen only first-run, Hollywood Blockbusters are now adding arthouse and classic films to their lineup.
I am involved with a few arthouses screening current films and I must say that 75% of the films are on 35mm, 15% are 16mm and only about 10% are digital. Honestly, 35mm is our first choice so needless to say, some of our 35mm films could be shown on digital if we chose. That said, a good 65-70% of our 35mm films are only available on 35mm.
I know you mentioned a film festival that only screens digital but please take a moment to think about how many films they have to turn away due to their limited capabilities. They may be a wonderful and successful festival but it would be 100x better if they had film capabilities.
Assuming you do get 3 screens, it may not be necessary have all screens equipped with 35mm but you must have at least one screen equipped with 2-35mm projectors for changeover (as someone else stated, a must have for archival stuff) and perhaps a set of platters for the occasions when you are running something more mainstream and cannot have an operator attending the booth at all times. As Scott said, it is also best for you to have lenses and plates on hand for 1.37,1.66,1.85 and 2.35.
Although it would be OK for you to leave out 16mm, I would also strongly advise against this if at all possible. Just this past September and October, I was up to my neck with 16mm films to run in one of my arthouses, a handful of which were brand-new films not available on any other format. Be sure to get Xenon equipment... Elmos and EIKIs are wonderful! Misc. reels, splicers, supplies and exciter lamps for 16mm are always to be found on Ebay, usually for a song.

Although I have not personally used it, I can tell you from the experiences of a pro-digital friend of mine who opened a single-screen arthouse, that the Emerging Pictures stuff is garbage, in both quality and content. When he opened his theater, he intended for it to be primarily digital (with the help of the Emerging Pictures box) but installed a 35mm Century projector and platters as well because he got them for almost nothing. After a few months of operation, he had to switch almost all of his programming to 35mm because of the many problems and issues he had with Emerging Pictures and because of the many films he was missing out on with his digital only mindset.

Please take everyone's advice on here. Film equipment is cheap these days and installing some alongside your digital will give your new theater a better chance of becoming an important, well respected arthouse as opposed to a short-lived novelty.

Posted by Celine Negrete (Member # 5531) on 11-27-2010, 08:34 PM:

Thanks for more great advice! Just to clarify, I already manage an arthouse and I have previously worked many film festivals from local to international, so I do understand the business to a certain extent. It is the changeover to digital that interests (concerns?) me the most in terms of design of a new theatre. I think it is inevitable and I want to be on the 'right' side of the equation. That is where the questions about digital are coming from.

Posted by Mike Olpin (Member # 1115) on 11-27-2010, 08:41 PM:

Have at least one screen set up for D-Cinema in tandem with 35mm. Install a video scaler for alternate content. Cannot recommend this enough.

Posted by Steve Guttag (Member # 268) on 11-27-2010, 08:44 PM:

Emerging Pictures is 720p...for the time being. I've been less than impressed with its sound and the image also looks a bit too compressed. There is a nice convenience factor to it, though.

1.37 (Academy is required if you plan to screen films made prior to 1953). 1.66 is the easiest to drop as it is primarily used for subtitled movies in Art houses...particularly older ones. I'm now advising a 1.75/1.78 plate/lens as it will allow 16:9 material and it also gives one more headroom for subtitled films and rarely if ever gets one into trouble with hard matted frame lines. you could almost use the 1.75 plate to cover 1.85-1.66.

-Steve

Posted by Jesse Skeen (Member # 586) on 11-27-2010, 08:45 PM:

No common-width screens!

Posted by Steve Guttag (Member # 268) on 11-27-2010, 08:49 PM:

Digital is definitely coming/here for the art house circuit. We recently installed a DCinema system at the National Gallery of Art...they had a movie from Norway...ONLY available in DCP or HDCAM-SR. We had installed a DCinema projector a couple of years back in anticipation of this. The cost of a DCinema player was far cheaper than the cost of an HDCAM-SR deck or even to rent one for the duration of the movie...plus renting the deck would have been money flushed away. Note, the Gallery is VERY film friendly...35mm and 16mm and film remains their preferred format. However, the times of digital-only are not only coming but will be increasing.

-Steve

Posted by Tony L. Hernandez (Member # 3524) on 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.

Posted by Scott Norwood (Member # 30) on 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.

Posted by Mike Spaeth (Member # 524) on 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.

Posted by Martin McCaffery (Member # 37) on 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.

Posted by Scott Norwood (Member # 30) on 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.

Posted by Tony Bandiera Jr (Member # 2365) on 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. [Roll Eyes]

(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!!

Posted by Mike Spaeth (Member # 524) on 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...

Posted by Celine Negrete (Member # 5531) on 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'?

Posted by Monte L Fullmer (Member # 2797) on 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..

Posted by Manny Montes (Member # 5639) on 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 [Smile]

, and as said before, no common width screens.

Posted by Manny Knowles (Member # 1171) on 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!" [Big Grin]

Best of luck with the project.

Posted by Celine Negrete (Member # 5531) on 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.

Posted by Scott Norwood (Member # 30) on 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.

Posted by Joe Redifer (Member # 3) on 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.

Posted by Matt Fields (Member # 3211) on 11-29-2010, 05:25 PM:

Scott-

I think that is possible. Keys are server specific, not projector specific.

Posted by Mark Gulbrandsen (Member # 72) on 11-29-2010, 07:27 PM:

quote: Tony L. Hernandez
First of all, for a good while to come, there IS and WILL be plenty of films

There will be plenty for the next 18 to 24 months!! One well known booker is telling all his clients to be converted over with in three years. The market is at about 30% digital saturation now. Once the market is at 60% digital saturation that more or less only leaves the not so popular chain sites, the indie chains and the little guys... or when the big three are about 85% converted then film prints will not only become scarce they will also become uber expensive for distribution to have produced. The large numbers of prints struck we are seeing today will drop dramatically and the per print cost will go through the roof. Studios may demand that marginal locations actually pay to have a print struck or tell the site they need to convert to digital. So with the above looming digital has to be included in any new build as well as any existing one you want to keep operating into the the next decade. What ever other ancillary equipment you can afford to install or have laying around can also certainly be included in the line up of gear. Don't forget to include a decent Blu-Ray player!

Mark

Posted by Matt Fields (Member # 3211) on 11-29-2010, 07:35 PM:

Here's my take on the main topic (digital equipment):

Go with one of the DLP projectors (Christie, Barco, NEC). Different people have different opinions on each brand. I own Christie at my place and have not regretted it.

For servers, Dolby, GDC, and Doremi seem to be the main players. I have used the GDC a little and own Dolby servers. The GDC was okay and got the job done, but I think the Dolby Show Manager software is far superior to the GDC user interface.

Since you'll be doing alternative content, you should get a Scaler. I have the Geffen scaler (Cinema Pro II model). I know Barco makes one also.

Regaurdless of what you pick, make sure you get good UPS's for the projector electronics and server, lots of lamp ventilation, and plenty of HVAC in the booth. This stuff works better when its kept clean and cool.

If you are thinking 3D at all, I would recommend Dolby or xpanD. Your not looking at a lot of seats (You won't need a lot of glasses), and you wont have to install a silver screen for the few times you play 3D content.

Posted by Mark Gulbrandsen (Member # 72) on 11-29-2010, 08:46 PM:

quote: Matt Fields
If you are thinking 3D at all, I would recommend Dolby or xpanD. Your not looking at a lot of seats (You won't need a lot of glasses), and you wont have to install a silver screen for the few times you play 3D content.

And best of all is the fact that all seats are 3-D saleble! With silver screens that is not always the case.

Posted by Brian Guckian (Member # 1678) on 12-02-2010, 12:22 PM:

Another area essential for new-build cinemas (or should that be Multimedia Entertainment Centres TM [Wink]

) today is sustainable building design and construction.

Projection technology aside, an ever-growing cost heading into the future is going to be energy, and water too.

Thus it is imperative to make buildings as energy- and water-efficient as possible. Lots of knowledge and expertise has been developed in this area of course, as it becomes increasingly relevant.

Posted by Chase Pickett (Member # 5975) on 12-07-2010, 02:39 AM:

If money is no problem, get in contact with funktion one sound systems. The best I've heard. They customize every install they do. [Big Grin]

Posted by Tom Petrov (Member # 1534) on 12-07-2010, 03:32 AM:

quote: Celine Negrete
theatre would be located in a small town

Celine, very good post.

There is a theatre in Waterloo, Ontario that is 5 years old, it is brand new, has stadium seating, plays 35mm, has a concession stand/cafe combined and is VERY successful and is a TWO PLEX. The two plex has a nightly staff of two, three on weekends with one in the cafe and seats about 270 seats combined.

In contrast, we have a 5 plex independent first run theatre in my area that is struggling to keep a float, they have a REALD 3D projector and are playing a 1/2 capacity nightly. I was there tonight an they has 6 people including me in the building for the late show. Total capacity for this theatre is 1200 and there were 6 paid admissions.

The two plex theatre is located right in the downtown area of Waterloo. The theatre plays independent stuff with the occasion Hollywood film. Right now they are playing Hereafter and Fair Game.

This is the type of model I would go after. You need as little overhead as you can to survive. If you are going to be a smaller size cinema, forget 3D or digital as those customers will be going to the multiplex anyway.

Your concession is most important. You need packages, the theatre in Waterloo has dinner and a movie (Sun-Thu) for $18. That is the ticket, soup, sandwich, drink and a salad.

You said that you are in a tourist desitination. Well check out some tourist areas and see what kind of cinemas they have. If you are in small town tourist area you are not going to have regulars all the time. Also, people on a vacation will not likely want to go see a 3D blockbuster in a small town while on vacation.

Here are a couple that I know of located in tourist areas.

Elora Gorge Cinema
Lux Banff
Stratford Movie Cinema

You will need to play independent films.

Lastly, and most important. YOU will have to run this theatre 5 days a week and have some part time managers on the other days.

quote: Celine Negrete
3-4 screens of ~80-100 seats each

A theatre this small cannot support "new" equipment and cannot support "all" digital screens. You must use film and quality used equipment. Especially if you are going to be an art house.

I have a question. Will there be any other competing theatres in this town?

Posted by Mike Blakesley (Member # 26) on 12-08-2010, 11:16 PM:

quote: Tom Petrov
A theatre this small cannot support "new" equipment and cannot support "all" digital screens. You must use film and quality used equipment.

We only have one screen, and we have "new" digital equipment. However we do run the evil mainstream films....with art films we'd be a goner.

Posted by Tom Petrov (Member # 1534) on 12-09-2010, 05:53 AM:

quote: Mike Blakesley
We only have one screen, and we have "new" digital equipment. However we do run the evil mainstream films....with art films we'd be a goner.

How many seats? Are you in a small market?

Posted by Mike Blakesley (Member # 26) on 12-09-2010, 10:34 AM:

194, and yes. We have about 10,000 people in our drawing area.

Posted by Joe Redifer (Member # 3) on 12-09-2010, 03:15 PM:

I'm surprised you were able to buy a digital projector based on that.

Posted by Mike Blakesley (Member # 26) on 12-10-2010, 01:38 AM:

Well we have a good track record, and we were debt free. Plus I have a thriving cocaine business. (Kidding.)

Posted by Scott Norwood (Member # 30) on 12-10-2010, 07:58 AM:

Mike--do you compete for films with other theatres, or can you pretty much book whatever you want?

Posted by Mike Blakesley (Member # 26) on 12-10-2010, 11:53 AM:

Our nearest competition is the Carmikes in Billings, but it's far enough away that we can book what we want.

Posted by Celine Negrete (Member # 5531) on 12-10-2010, 02:03 PM:

Thanks for the posts and information! Tom, that is an interesting example and something for us to think on.

I will start a new post later today on a question I have about 'hybrid theaters', which is something our film buyer is suggesting we seriously consider. He gave us a few examples and I would be curious to hear everyone's thoughts. I will have a chance to post again in a couple of hours.

Thanks again! I appreciate it.

Posted by F. Hudson Miller (Member # 5318) on 07-14-2011, 07:55 PM:

If its not too late please consider putting presentation curtains in all of your theaters. Not only does it put a little show back into show business, but it also keeps you screen clean. Can't tell you how disappointing it is to walk into a theater with a big damn white screen just sitting there naked. There is nothing artistic about blank white screen! If you must run pre show ads please program a curtain close/open into each show. Its a little thing, but it matters. You don't need to go as far as "The El Capitan" on Hollywood Blvd (it has curtains four layers deep - including an automated iris lighting effect - something to behold) but a simple traveler or contour job would be very nice indeed.

Posted by Louis Bornwasser (Member # 3063) on 07-14-2011, 10:46 PM:

Consider the Commodore Theatre in Portsmouth VA, home of the Atlantic Fleet. Louis