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

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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.

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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.

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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/.

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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

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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.