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We have designated aisle lighting which must be operational, though.

Our newer cinemas use four stage dimmers so that we can have on preset for the ads and trailers and then a slightly darker preset for the credits. In operation though, we only seem to use one of the presets.

Jesse, you weren't asking about the level for trailers, you were asking about feature film levels? Is this correct.

I am wondering if anyone drops the house lights out completely during trailers. This was a practice in one theatre, and the effect was great - trailers how they are meant to be seen

Frank

Frank.

If ambient light levels are too high, contrast within the cinema can be greatly reduced and the reason I'm there -- to watch the movie -- suffers. If I'm late and kick my knee on the back of a chair because it's dark, that's my fault. I'd rather watch the movie in the atmosphere of the cinema anyway, much more enjoyable.

Aisle lights, special directional lighting and such can address the safety issues while still allowing the presentation quality we want.

One of those "compromises" we all have to make might be mid-level lighting during trailers in front of the main feature, and during the credits when 85% of the audience starts to leave anyway. These things I accept and agree with, but for the feature I'd like it dark. The trailers and such might be okay, but I am there for the movie when all is said and done.

Normally, the house lights stay off until the end credits start, when I turn the sides up to about 60%. The adjusting of light levels is completely manual so I can do it any way I like, as slowly or as fast as I want, and to just about any level in the range.

Unfortunately, my theory was put to the test. Someone used to work here that insisted on turning the overhead lights all the way off. Several people fell. The first two were young people. The last one was an elderly patron, and wouldn't you know, this guy finally realized he had a bad idea.

I've never heard of a patron falling when I've run a show, with the lights at a mild glow - much less light, by the way, than the typical multiplex. I think lights in most cinemas are way too high.

I use a higher light level during previews. Credits light level is all the way up unless there are images in the credits.

Now, I respect that some of my colleagues might have different ideas about this, but I would never be a part of it, never. If it was company policy, I'd probably quit. Well, either that, or the house lights would malfunction during every single show. There's something very wrong with an auditorium that requires the house lights to be on during a show. Aisle lights and such should be enough, if properly designed.

If you can cast a distinct shadow on the unlit screen, the lights are too bright.

The end credits were running, but the ceiling lights were down (at the level as when running a show.) All asile lights were working (a light on the seat standard shines on the steps; one on the left, another on the right, as you walk up.) In other words, the lighting was exactly the same as if we were running a show.

The film was a basically true story; "The Newton Boys" (about bank robbers in the 1930's.) While the credits are running, they show an interview with one of the real Newton Boys on the Johnny Carson TV show.

The operator had waited until the interview finished- then placed the light cues on because he noticed people staying to watch the interview.

So, why did we lose when the lights were the same as during a show? After all, if she tripped during the show, it would have been the same, right?

No. Because their sharpie laywer asked for a copy of our own policy manual that simply stated; ".... put 'lights up' cues on when the credits start.."

Although we did put cues on, the laywer said we violated our own policy. (He said) the policy didn't say anything about action going on on screen; The policy manual said to put cues on, which we did not do properly. (They were on too late.) He also said that we should have known to bring the lights up right away when "large masses of people" leave an auditorium.

So the jury awarded them some money (not much; less than $20,000.) The jury probably thought they were making theaters safer by handing this verdict, but this is what will really happen:

1. Turn on every light in the auditorium at the first credit. This is what we now do, because if we don't, (and someone else sues us) this case provides a "prior precedent" meaning it will be even easier to get money from us. Normal customers lose out seeing a nicer show.

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Keep smiling all.....

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"I luv the smell of napalm in tha mornin !"