March 2, 2013 Grand Reopening Night – Shared memories of the Dryden Theatre’s past, and excitement for all that is in store.

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With Disney’s Oz the Great and Powerful taking the box-office lead upon opening last weekend, we have proof once again that the “Oz” legacy remains great and powerful.  From a story written in 1900, the words of author L. Frank Baum have leapt from the pages onto the stage, from small theaters to Broadway, and to the silver screen, including the MGM film of 1939 — which has been seen worldwide more than any other film ever made — and also the earliest surviving film version of the tale, dated 1910.

In the case of the two classic

film versions, they are preserved at George Eastman House, and have been for decades — the only original print of the 1910 version and the original camera negatives from the Judy Garland fave, The Wizard of Oz.

Going down the yellow brick rick in the 1939 MGM classic The Wizard of Oz© Warner Bros.

The 13-minute early screen version was influenced by a stage musical directed by Baum himself and features young Dorothy, the Scarecrow, the Tinman, Lion, Toto, and a glamorous good witch and a scary bad witch … plus random characters like a costumed cow and dancing girls. The early film’s influence on the Technicolor classic created three decades later are detectable, from scary-faced trees to the Scarecrow’s costuming and mannerisms.

The cultural significance of the “Oz” films is obvious, but the importance of the preservation may not be so obvious. The 1910 silent film is the only existing copy in the world and its proper archiving and inspection has allowed for it to be stable enough to be digitized and shared — 103 years later — and also for

the original film to be around for generations to come.

Young Bebe Daniels as Dorothy meets the Scarecrow for the first time in the 1910 silent film The Wonderful Wizard of Oz.

In the case of MGM’s The Wizard of Oz, the camera negatives at Eastman House have been the original source material for every print, every video, every DVD, and every Blu-ray copy ever made. To make the 70th anniversary Blu-ray in 2009, Warner Bros Studio borrowed the 1939 negatives to create high-res scan, because the original film material is still the best source from which to garner the highest quality imaging and sound.

The studio did not use, mind you, the previous digital copy made a few years back, but the well-preserved YCM negatives (separate reels for yellow, cyane, and magenta, as these colors were layered to create the color-separations for the Technicolor classic).
These negatives were the actual film in the camera when the movie was shot, just feet away from Judy Garland, as she declared “There’s no place like home.” And Eastman House is proud to be the home for her on-screen persona for many, many years to come. Click, Click.

Beyond the theater’s plush new seats, fresh coat of paint, new carpets, and enhanced lighting, the Dryden has undergone some serious technological overhauling and upgrading both up in the projection booth and behind the screen (did we mention the screen is new too?). These new features enable us to maintain our high standards of motion picture exhibition and also greatly expand our projection capabilities. Here’s a quick breakdown of what’s been added and augmented:

1) Barco DP2K-32B Digital Cinema Projector
Motion picture distribution is moving away from traditional 35mm film, and movies are now being presented on DCPs (Digital Cinema Packages). These high- quality, heavily encrypted hard drives are quickly replacing 35mm prints as the primary format for film distribution and are slowly becoming the new finishing format for many film preservation projects. Our new digital projector will allow us to exhibit DCPs of both new first-run features and digital restorations of classic films with a bright, brilliant image and crisp, full surround sound. Of course, the Dryden will continue to primarily screen photochemical film (we always will, whenever possible) but this new technology greatly increases the depth and variety of films we can now show in the theater.

2) Automatic Masking System
The masking encompasses the black curtains on the top, bottom, and sides of screen. In an archival theater such as the Dryden, which exhibits a wide range of films with different aspect ratios, it is imperative that the masking be adjustable to fit the projected image. In the past, the masking had to be manually fine tuned by the projectionist using a system of pulleys behind the screen (and even then we could only adjust the sides!). Now, all four masking curtains are connected to independent motors that are operated from touch panels in the projection booth. This system not only makes the projectionist’s job much easier, but it also facilitates more precise control of the screen’s size and shape, which in turn allows us to exhibit any film the way it was intended to be seen.

3) Enhanced AMX Control System
With all these new gadgets, we needed a way to effectively control them all in a simple, elegant fashion. Our booth had an existing AMX system that controlled some aspects of our film projectors and auditorium lighting, but that’s next to nothing when compared to our new capabilities. The AMX touch panels in the booth are now linked to nearly every aspect of theater. A projectionist can control the lights, sound system, masking, video decks, in-booth monitors, and the digital and film projectors all from one screen. Although unseen to most Dryden patrons, this interface is the nervous system of the theater that makes everything you see possible.

And there you have it! All of these features were expertly installed by a crew of cinema engineers from Boston Light and Sound in conjunction with LeChase Construction and IATSE technicians. Everyone involved with the renovations showed unparalleled dedication and prowess in their efforts and I feel honored and privileged to have been part of this workforce. I sincerely hope you enjoy the new Dryden and that you have gained at least a small appreciation for what’s going on in the dark little room at the back of the theater.

More on the Dryden Theatre Renovation:
Part I, The Curtain Stays
Part II, Seatless
Part III, Cement, Lighting, and Accessibility
Part IV, Painting, Listening System and Digital Projection
Part V, Stage and Carpet
Part VI, Seats and Projection Booth
Part VII, The Curtain Returns

The Dryden Theatre officially reopened on March 3, 2013.

The newly renovated Dryden Theatre opens this weekend with a completely new look – darker walls, new seats, carpeting on all floor areas, along with new ceiling and aisle lighting that is reminiscent of the great cinema houses of the past. These updates significantly enhance the viewing experience by improving sound absorption and minimizing reflection on the screen.

In addition, the Dryden remains one of only four theaters in the world equipped for the projection of original nitrate film (manufactured before 1951) as well as every major film format in the medium’s history. The renovation’s installation of a Barco digital projector now allows Eastman House to present the wealth of contemporary digital cinema and the installation of automated masking allows the screen to optimally accommodate all cinematic formats.

Both enhancements further support the Museum’s commitment to honor the aesthetic choices of filmmakers of all eras. Additionally, a new loop system for the hard-of-hearing further assures the accommodation and comfort of all patrons. The newly-renovated Dryden will provide today’s—and generations of tomorrow’s— movie-goers with an exceptional cinematic experience by combining the ambience of the classic movie house of the 1950s with the comfort and technology of 2013 and beyond.

See you at the movies!

More on the Dryden Theatre Renovation:
Part I, The Curtain Stays
Part II, Seatless
Part III, Cement, Lighting, and Accessibility
Part IV, Painting, Listening System and Digital Projection
Part V, Stage and Carpet
Part VI, Seats and Projection Booth