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Egyptian Theatre: projection booth

6712 Hollywood Blvd. Los Angeles, CA 90028 | map |

The Egyptian Theatre pages: an overview | Hollywood Blvd. views 1922-1954 | Hollywood Blvd. 1955-present | forecourt | lobby - earlier views | lobby - recent views | auditorium - earlier views | auditorium - recent views | booth | backstage | Egyptian 2 & 3 | along Las Palmas Ave. | along McCadden Place

The new booth: It's totally new construction done by Netflix during their 2021-2023 renovations. With the removal of the balcony, the new booth could be lower than the one built by the American Cinematheque and it's now even lower than the original 1922 height. A new elevator was installed on the left side of the booth and, as with the 1922 and 1998 installations, there's also access across the roof. 

There's now a separate sound and broadcast control room located directly below the projection booth. Rebuild work on the Norelco projectors prior to the 2023 reinstallation was done by Chas Phillips of Phillips Optimal Presentations. Chas also worked on other aspects of the installation. The projection and sound installation was supervised by Dan Beedy of the firm DBPC.

Scroll down lower on the page for a booth timeline and views of four of the Egyptian's previous projection booth installations: 1922, 1968 D-150 downstairs, the 1998 Cinematheque installation and the 2016 nitrate rebuild. Sorry, no views (yet) of the 1926 "Don Juan" Vitaphone installation, the sound equipment that was installed in 1928 or the 1955 TODD-AO "Oklahoma!" installation.

The view down into "the pit" from in front of the elevator. Photo: Bill Counter - November 2023

Film projectors: The two Norelco AAIIs and the Christie SLH lamphouses that had been installed by the American Cinematheque are back in the new booth. The Norelcos were originally installed in 1965 at the Lakeside Theatre near New Orleans. The machines have variable frequency drive as well as interlock capability for two-machine 3-D. The bases are now motorized for easier alignment when changing formats.

Nitrate: The booth is nitrate capable with a rolling fire curtain on the front wall. Going to nitrate requires removal of the DTS and Dolby Digital heads atop the Norelcos and installation of the magazine cans and appropriate firetrap rollers.  

Digital: Two new Barco units. One lives at the center port. The other gets parked to the left of Norelco #1 when not in use.  

Sound upgrades: The theatre now has an Atmos installation. Alex Harbaugh designed the new sound system, including a separate house PA system. Alex worked with Dolby on the design of the Atmos installation.

Film sound: Academy optical, Dolby A and SR, Dolby Digital, DTS, 4 and 6 channel mag. No SDDS this time around. The Kinoton retrofit optical heads are switchable between red and white LEDs. There's a Dolby MPU mag preamp unit and a Dolby 650 processor. There are three Dolby Model 363 units, each with two Cat 300 SR/A modules, for six channels of noise reduction. Backstage there are five full-range stage channels plus subs. 

Throw: 92' with an angle of about 8 degrees.

Screen size: About 27' x 53'. It's flat. The masking is adjustable on all four sides. There's a deep blue house traveler. 

Another view down from the upper level. Atop the Norelcos are DTS and Dolby Digital heads. At the time of these photos it was before the public opening and the crew was still finishing the installation and getting the booth organized. Photo: Bill Counter - November 2023

Racks of broadcast gear along the left side of the upper level. We're looking toward the back wall. There's a door out onto the roof around behind that end rack. Photo: Bill Counter - November 2023  

A look across the back of the upper level. Along the railing are DCPs and 70mm film cans. This was a day before the public opening and lots of booth organizing remained to be done. Beyond the racks to the right is a door to the roof. Watch your head on the roof truss but beyond that is the walkway along the right side of the booth's upper level. Straight ahead is the door to a toilet room. Take a right beyond the truss and there's yet another door to the roof -- there are 3. Photo: Bill Counter - November 2023

On the right are three of the racks of processing gear for film and digital projection sound. Rack #4 is out of the frame on the right. In rack #1 is one of the Dolby Atmos processors. Equipment in rack #2 includes another Atmos processor, a Dolby 650 processor, 3 Dolby Model 363 units with SR/A noise reduction modules and a Dolby MPU mag preamp unit. Rack #3 includes 3 QSC Q-Sys processors and 6 Meyer Sound Galileo Galaxy 816 loudspeaker processors.

The view down from in front of the amp racks. The square aluminum enclosure along the wall above the ports is the motorized fire curtain. It's tracked along the sides. The extra Barco digital projector seen on the far left can be moved to the center when needed. Photo: Bill Counter - November 2023

Stairs down to the pit. On the screen via DCP was "Temple of Film: 100 Years of the Egyptian Theatre," the eleven minute short Angus Wall did for Netflix to celebrate the  theatre's reopening. Photo: Bill Counter - November 2023

Looking back across the amp racks to the left end of the booth. On the other side of the truss are the racks of broadcast equipment. The elevator door can be seen to the right of the racks. It also has a fire curtain. Photo: Bill Counter - November 2023 

Pivoting 90 degrees from the last image, we get a view along the right side of the booth's upper level. On the left are breaker panels for booth equipment and auditorium lighting. That's operator Ben Tucker at his laptop near the front wall. The door leads to the walkway behind the former house right private boxes. Photo: Bill Counter - November 2023

In the pit looking across to machine #1. Note the motorized base underneath it. Photo: Bill Counter - November 2023 

A closer look at machine #1. Photo: Bill Counter - November 2023 

A view across the back of the pit. Up near the amp racks are Netflix engineer Evan Norbom and former Egyptian head operator Paul Rayton. On the far right is equipment installer Chas Phillips. Photo: Bill Counter - November 2023 

The new Netflix booth under construction in 2023: 

A view through the parapet wall on the west side of the building looking toward the framing in place for the new booth. Photo: Bill Counter - January 2023  

A crane in use in June 2023 to hoist amp racks up to the roof and into the new projection booth. It's a shot from a ten second video clip on the Cinema Installations page of DBPC, the company that did the projection and sound installation. That's the new booth on the right, with the orange stanchions on its roof.

Looking into the new two-level booth from the roof. This door is lined up with the stairs into "the pit" where the projectors are located. In addition there's a door to the right, on the other side of the truss, and one off to the left. Photo: Bill Counter - June 2023 

A closer look into the pit. The enclosure is protecting the two Christie Xenon lamps that had been used in the old booth. Photo: Bill Counter - June 2023

Looking to the left along the back of the upper level. Take a left beyond the roof truss and you're out on the roof. Take a right beyond the truss and you're at the elevator as well as a door going out behind the openings for the three house left "private boxes." The racks for film and digital sound are on the right. Those racks seen on the other end of the space are for broadcast gear. Photo: Bill Counter - June 2023 

Looking in from the far left door. The new elevator is beyond the black wall. Photo: Bill Counter - July 2023

The pit as seen from the left end of the booth. Note the rolled-up fire curtain on the front wall. The booth is nitrate capable. Photo: Bill Counter - June 2023 

A closer look at the plastic-wrapped bundle that included a Norelco base and motor assembly. The concrete roof truss on the left provides built-in shelving. Photo: Bill Counter - June 2023

A look out that left port, at the time still with plastic on the auditorium side. Photo: Bill Counter - July 2023

Back to the right for another look into the pit but also with a peek at the area beyond the right truss. Photo: Bill Counter - June 2023

The area at the far right end of the booth. Photo: Bill Counter - July 2023
Electrical panels on the upper level of the right side of the booth. The pit is just beyond the panels. Photo: Bill Counter - June 2023

A better look at the electrical installation on the right side. We're looking toward the center with the booth front wall on the right. The black panel is for emergency lighting circuits. Photo: Bill Counter - June 2023

A view into the pit from the right. Note the rolled up fire curtain. Photo: Bill Counter - June 2023

A closer look at the fire curtain, a product made by Smoke Guard. Photo: Bill Counter - June 2023 

Across the ports from the right. Photo: Bill Counter - July 2023 

Still on the right side, looking toward the front wall with this area's electrical panels on the left. The doorway leads to the passage behind the three openings for the house right "private boxes." That's a very short ladder. The passage off to the right is only one step down. Photo: Bill Counter - June 2023  

A view to house right and access to the box openings. Originally there had been separate doors from the roof to access these areas on either side of the booth. Note a bit of 1922 vintage decorative paint remaining. Photo: Bill Counter - June 2023 

Farther down the passage to the end box. Photo: Bill Counter - July 2023

1922 vintage decorative painting. Photo: Bill Counter - July 2023
The box view to the proscenium. Note the holes in the baffle wall for five full range stage channels plus a couple of extras between 1 & 2 and 4 & 5 for house PA use. The holes for the subs are located at the center where the opening is in the drywall at the bottom of the wall. Photo: Bill Counter - June 2023

The view after the seats were installed. Photo: Bill Counter - July 2023

More decorative painting visible on the way back toward the booth. Photo: Bill Counter - July 2023 

Back on the right side of the booth. Photo: Bill Counter - July 2023 

Looking out toward two of the three doors to the roof. The open door in the foreground on the left is to a toilet room. Photo: Bill Counter - June 2023

Looking north from outside the booth. The truss continues inside the booth area and marks the right side of the pit where the machines are. Photo: Bill Counter - June 2023 

Along the back of the booth. This door goes in to the left side of the booth with the truss being the left side of the pit inside. The other two doors are off to the right. Photo: Bill Counter - June 2023. The theatre reopened in November.  
A booth timeline:

1922 - The booth was upstairs when the theatre opened. There's no balcony but it was flanked by private boxes. Access to both the boxes and the booth was across the roof. The theatre initially had two Powers projectors along with followspots and effects projectors.

1926 - Vitaphone equipment is installed for Warner Bros. sound-on-disc production of "Don Juan." The film started its run as a silent but finished with the Vitaphone version along with Vitaphone shorts. The equipment was also used for a second feature, "The Better Ole." See the Warner Hollywood booth page for information about early Western Electric installations. There are also shots of Vitaphone equipment on the Carthay Circle projection page and the page about Inglewood's Granada Theatre

1955 - Norelco DP70 35/70mm projectors were installed, along with an Ampex 6 channel sound system for the 70mm TODD-AO run of "Oklahoma!" Sound was not on the film for this first TODD-AO release but run in sync from one of two 6 channel dubbers using 35mm film with a full magnetic coating. A deeply curved screen was installed, 60 feet or so in width. See Egyptian Theatre overview page for more about TODD-AO and 70mm roadshow runs at the Egyptian.

1968 - A new booth was built downstairs for the installation of the D-150 system. The projectors were moved downstairs. Lamps were Ashcraft Super Cinex. Sound was a new solid state Ampex "8 channel" system. It was the standard 6 channel configuration when used for 70mm but with the surrounds driven by three amplifiers instead of one. A even bigger deeply curved screen (75' measured along the curve) was installed.

1992 - The theatre closes.

1998 - The theatre reopens after the American Cinematheque remodel. The booth was back upstairs but at a higher level than it was in 1922. They installed two Norelco AAII 35/70mm projectors, a later version of the 1955 machines originally known as the DP70. This set came from a theatre in Metairie, a suburb of New Orleans. Lamphouses were Christie Xenon with 6 Kw lamps. There was also a 16/35 Kinoton projector, later removed to allow space for a digital machine. The theatre was equipped to reproduce all standard sound formats including Dolby Digital, SDDS and DTS.

2016 - The booth was stripped to the walls for a retrofit to make it able to safely run nitrate prints. A new Barco DP4K-30L digital laser projector was acquired.

2020 - The theatre closes due to Covid restrictions. American Cinematheque later sells the building to Netflix. 

2021 - The Cinematheque era booth was totally removed during the Netflix renovations. Also removed were the walls and floor of the area below that 1990s booth that still remained from the original 1922 booth. The lower part of the new two-level Netflix booth is in the space originally used in 1922 but down a bit lower.

2023 - The theatre reopened in November with an invitational screening of "Singin' in the Rain," two public showings of David Fincher's "The Killing" and then a twelve-day 70mm festival. 


The Egyptian's booth in 1922. It's a photo that appeared in the November 11, 1922 issue of Moving Picture World with the caption: "Projection Room, Grauman's Egyptian. Showing the decorated walls, the two Power's projectors, with vent flues, also the Power's Stereopticon." Thanks to Jean Hunter for the find. She added the item as a comment to a "Don Juan" premiere photo posted by Richard Adkins on the Hollywood Heritage Facebook page.

The only access to the booth was across the roof, accessed via the stairs at the house left end of the lobby that went up to the men's smoking room on the second floor. A few more stairs got you to a door onto the roof above the lobby. After a walk across the roof above the rear of the auditorium one could enter a film vault behind the booth. You'd get to the booth by entering another door to the west of the vault. A corridor passed a toilet room, a storage room, and then, after taking six steps down, from you'd be at the back of the booth. Also on the roof were doors house left and house right to get you into the private boxes (aka "balconies") on either side of the booth. A ladder on the east wall of the booth allowed access to the higher level of the roof, the organ chambers, and upper part of the stagehouse.

In "Egyptian in Both Architecture and Decoration is Grauman's New House," a separate article in the same issue of Moving Picture World, it was mentioned that the theatre's "harmony of carving and coloring has been extended even to the projection room." More details:

"Mechanics and art join hands to make a perfect screen display of motion pictures and that is why Sid Grauman pays so much detailed attention to the projection rooms to his theatres. Grauman long ago realized that good pictures, if poorly projected, will not be a popular success and this understanding of the screen art is responsible for the minute care with which the projection rooms of Grauman's theatres are equipped.

"The mechanical equipment of the projection room on which $5,000 has been expended, includes two Powers six-B projectors, illuminated with Power's G.E. high intensity arcs; one Power's triple dissolver, with which some of the latest coloring effects will be presented; three spot lights casting vari-colored hues; a special Westinghouse generator, wound for a capacity of 125 amperes, and the necessary connections to insure mechanical perfextion in the screening of all pictures.

"Remote Control System - This equipment is operated by the projectionist by means of automatic electrical controls arranged in three stations, from any one of which he will have complete control of the entire equipment. The comfort of the projection room has been further enhanced by placing the rheostats of the filming machines in a specially made cabinet. Like the main room, this is ventilated by a fresh air system that insures a constant circulation of ozone. Because the rheostats generate an intense heat, the customary plan of installing them in the projection room was abandoned and in the Egyptian a separate compartment provided and in this also has been placed the Enterprise automatic re-wind on which the films will be coiled up after they have been run in the projection room.

"Adjoining the main projection room, entry to which is obtained from the roof, a film vault has been built. Constructed on the order of a bank safe, with a steel door, this vault is absolutely fireproof, and will insure the safety of the highly inflammable celluloid films while they are not being run. All attractions to be shown at the Egyptian will be stored in this vault both before and during their exhibition runs. Every known safety method of handling the film has been installed in this compartment and any untoward accident to them has been rendered practically impossible by the precautions taken."

This article appeared in the November 18, 1922 issue of Exhibitors Herald. It's on Internet Archive. 

The downstairs booth 1968-1992: 

This main floor booth was built for the 1968 Dimension 150 installation. The equipment included Norelco 35/70mm projectors, Ashcraft Super Cinex lamps and an Ampex eight channel sound system. It was a conventional 6-4-1 system with 5 stage channels but they were using three separate amp channels to drive the surrounds. There are a couple of dubbers on the far wall. The amp rack is hiding behind machine #1.

The photo comes from a January 29, 1969 article in the Motion Picture Herald. It appears on the Egyptian Theatre page of Roland Lataille's comprehensive website, which has the complete Motion Picture Herald article about the D-150 remodeling.

A D-150 screen installation was done during the 1968 renovations. This was a warning from the D-150 people that to use the full screen size you had to pay royalties. Thanks to Bill Gabel for the photo from his collection, at one time appearing on the Cinema Treasures page about the Egyptian. 

A view of the D-150 masking control panel from the Bill Gabel collection.

The main floor booth and the D-150 screen were removed during the 1997-1998 American Cinematheque renovations.

A new booth upstairs 1998-2021:

During the American Cinematheque renovations the booth was moved back upstairs, but positioned at a higher level than it was in 1922. This was necessitated by the addition of a balcony to the theatre. 

There were 2 Norelco AAII machines with variable frequency drives. Sound capability included Mono optical, Dolby A and SR, Dolby digital, Sony SDDS, DTS and mag for 70. Originally there was a Kinoton 16mm machine but that was replaced by a digital projector. At the end of this booth's time it was a Barco laser projector.

The throw was 92' at about a 10 degree angle. The Cinematheque's screen was 27' x 53'. See the backstage page for some information on screen installations over the years at the theatre.

The Spielberg booth: The booth in the small house that the Cinematheque built as part of their 1997-1998 renovations also had Norelco AAIIs but they were not set up to run 70mm. The throw was 35' with a 10' x 24' screen. The 80 seat house was also set up to run 16mm and digital formats. Booth access was via a doorway in the inner lobby, opposite the ladies room.This theatre was demolished in 2021-2022 as part of the Netflix renovations.

Upstairs booth views 1998 to 2014:  

The two Norelco AAII 35/70mm projectors in the Egyptian's booth before the renovations to make the installation nitrate-friendly. That red glow on the top of machine #1 is the LED on the Dolby Digital soundhead. Photo: Bill Counter - 2014

A door open view. Photo: Wayne Nabeta on Flickr - 2008. Thanks, Wayne! See the rest of his Egyptian Theatre set for more booth views as well as fine shots of the rest of the building.

A closer look at projector #1. Photo: Wayne Nabeta on Flickr - 2008

A look at the digital soundheads mounted atop the machine. Photo: Wayne Nabeta on Flickr - 2008

The Dolby Digital soundhead. Photo: Wayne Nabeta on Flickr - 2008

The back side of one of the machines. Photo: Wayne Nabeta on Flickr - 2008

Projector #2. Photo: Bill Counter - 2014

Machine #2 with the film trap open, ready to thread 35mm. It's a photo by Leo Enticknap, one of eight of his 2014 photos of the equipment in the Egyptian booth that appear with the Wikipedia article on the Norelco DP-70 projector.

Machine #2 threaded up ready to go. Photo: Leo Enticknap - Wikipedia - 2014 

The projector motor speed control cabinet, at the time on the front wall to the left of machine #1. The variable frequency drive allowed speeds from 16 to 30 fps. Or the two machines could be interlocked for dual machine 3-D. Photo: Leo Enticknap - Wikipedia - 2014

A look toward the rear of the booth during one of the tours the theatre offered. The sound racks are in the distance on the left side of the photo. Thanks to Wayne Nabeta on Flickr for his 2008 photos.

Some of the sound gear. At the time the racks were along the booth's right wall. The were moved to the back wall during the 2016 rebuild. Photo: Bill Counter - 2014

 A look across the booth in 2002. The Richard Greenhalgh photo is part of the article "4 Track Magnetic Stereo at the American Cinematheque, Hollywood" discussing the format and a festival the theatre was running in 2002.  

Another view from the site This photo by Paul Rayton, then the head projectionist at the Egyptian, appears on the site's DP70s in California page. Thomas Hauerslev's delightful site is the place to visit for information about 70mm projector history, news of 70mm festivals and more.
The Nitrate rebuild - 2016: 

In the summer of 2016 the booth was stripped to the walls for a retrofit to make it able to safely run nitrate prints. The new booth design was by BAR Architects. It was a joint project of the theatre, the Film Foundation, and TCM. See more about the project in the Foundation's press release "Nitrate at the Egyptian." Thanks to the theatre for the photos -- this is one that appeared on the American Cinematheque Facebook page.

The bases of the Norelco AAIIs back in place in mid-August 2016. Following the renovation, the front wall of the booth was actually double. The surface we see here is new. Fire shutters were between this new wall and the original booth wall beyond. It's a photo from the Egyptian Theatre Facebook page.

Bolting the lamphouse brackets back on. It's a photo from the Egyptian Theatre Facebook page.

A look across the booth. Note the new wiring gutters on the front wall and other new electrical work. The photo was included in an August 18, 2016 post on the American Cinematheque Facebook page.

KTLA's Gayle Anderson getting a look at the work involved in the summer 2016 booth makeover. This photo and the two below appear in a 26 photo set "KTLA Morning News with Gayle Anderson Visits the Egyptian" that was on the Egyptian Facebook page in August 2016. In addition to the booth shots there are many views of forecourt restoration work as well as a discussion of roof repairs and lobby improvements.

Gayle Anderson talking to Paul Smith of D-Mation, the "integrator" who was supervising all the tech work in the booth during the renovation.

An electrician working behind the amp racks. Its a shot in the 26 photo set on the Egyptian Facebook page. July 2016 Stories on the retrofit included a Deadline article "...Retrofit for 'Rare' 35mm Nitrate Film Projection" and one on LAist: "Egyptian Theatre...To Screen Rare Nitrate Prints."

The booth was back in action in the fall of 2016. During the renovations, the theatre ran DCPs with a temporary Barco projector set up in the balcony.

It was a bit of work to get the Norelcos ready to run nitrate prints. Here veteran projectionists Paul Rayton and Mike Schleiger are putting a top magazine back on. Guide rollers at the top and bottom of the heads get replaced with fire trap rollers designed for nitrate film. It's a March 2018 photo from the Egyptian Theatre Facebook page. See the post for a total of eight photos.

Here the digital soundheads normally on top of the machines had been removed to allow a nitrate print to be run. Photo: Egyptian Theatre Facebook page 
Booth views following the Cinematheque's Nitrate rebuild: 

A look across the front wall from the entrance door. Photo: Bill Counter - 2019 

The two Norelco AAII 35/70mm projectors, originally from a theatre in Metairie, a suburb of New Orleans. The blue containers were water circulators for the machine's film traps. The booth entrance door is hiding beyond machine #1. Photo: Bill Counter - 2019

Machine #1. Photo: Bill Counter - 2019

A closer look at the array of digital soundheads atop machine #1. At left is a Dolby Digital head, threaded up for the Cinematheque's film "Forever Hollywood." Top right is a DTS timecode reader (here set up for 70mm). Lower right is a Sony SDDS head. Photo: Bill Counter - 2019

One of the new optical soundheads. Thanks to Mark Gulbrandson for the photo, added as a comment to a 2017 post on the private Facebook group Motion Picture Technology. He comments: "These are the analog sound reproducers that are now fitted to the DP-70's. A far cry from the originals which were built like a tank. But these have both red light and white light readers in them. White light is still better for older types of tracks. Now they have to come up with a work around to mount the digital sound heads up top and still have the magazines on."
Kinoton had made a retrofit optical head staring in the mid-1990s that incorporated pickups for both analog optical as well as Dolby Digital. Ronald Rosbeek designed an upgrade that took those heads and made the light source for analog optical switchable between white and IR light. See "Kinoton FP30 / DP70 Reader Update" on the website of Rosbeek Techniek for more data. Thanks to Stefan Holliger for spotting the article and sharing it on the 35mm Cinema Projector Technical private Facebook group, where it got lots of discussion. 

The variable frequency drive on the base of machine #2. With this system different speeds could be set for silent films or the machines could be interlocked for dual machine 3-D. Photo: Bill Counter - 2019

A look along the front wall from beside machine #2. With the nitrate rebuild, the front wall was furred out. The fire shutters came down in the slot we see between the original wall and the new inner one. As well as an automatic release system there was a manual release button above each port. Photo: Bill Counter - 2019

In position #3 was their digital machine, a Barco laser projector. Photo: Bill Counter - 2019

A look alongside the Barco machine. Photo: Bill Counter - 2019

The amp racks, located behind the Barco projector. There was a Dolby 200 along with a whole array of other signal processing gear. Photo: Bill Counter - 2019

Electrical gear back in the house left corner of the booth. The edge of the door we see on the left goes out the back of the booth onto the roof. Over farther to the left, in the house right corner of the booth, there was a restroom. Photo: Bill Counter - 2019

A peek out the back door. There's a bit of one of the roof trusses at the lower left. We're looking northwest. The brick building is the former Christie Hotel, now a Scientology building. Photo: Bill Counter - 2019

Looking northeast. The beige wall is the back of the south wall of the forecourt. The ladder gives you access to the top. In Grauman's day he had a man dressed in Bedouin robes patrolling the parapet to give the place added color. Photo: Bill Counter - 2019 

In the auditorium: 

A look back toward the booth in 1922. It's a Los Angeles Public Library photo.

A rare look back at the rear of the house sometime after the 1992 closing. Note the main floor booth, installed in 1968. The drapes that had covered the upstairs booth had been removed revealing a bank of surround speakers installed there. In the upper right you get a bit of the valance for the D-150 drapery installation. Photographer and source of the photo are unknown. 

The back wall after the American Cinematheque renovation. The balcony, added in 1997-1998, obscures the original 1922 booth location. Photo: Bill Counter - 2010

A look toward the booth early in the demolition phase of the Netflix renovations. Photo: Bill Counter - November 2021  
The front of the booth after more demolition. The upper level of ports were for the booth installed during the Cinematheque renovations of 1997-1998. The lower area was the original 1922 booth location, once again to be reused. Photo: Bill Counter - January 2022 

A closer look into the original booth space. Note what appears to be decorative painting on the west wall. Photo: Bill Counter - January 2022

The view after the demolition of the upper level that had been added by the Cinematheque. Photo: Bill Counter - February 2022 

A look to the back of the house after the new booth was framed in. Photo: Bill Counter - March 2023

A closer look at the ports. Photo: Bill Counter - March 2023

The finished ports for the new Netflix booth. That's a separate control booth below. Photo: Bill Counter - June 2023 

The back wall the week before the grand reopening. Photo: Bill Counter - November 3, 2023

A closer look toward the booth. Photo: Bill Counter - November 2023

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