Multi-Use Halls: Making Non-Cinema Venues Cinematic for Film Festivals

Every film festival producer eventually encounters the challenge of turning an ordinary hall into a cinematic experience. Not all festival screenings happen in purpose-built cinemas – sometimes you have to use school auditoriums, community centres, concert halls, or even industrial spaces. The good news is that with the right approach, any multi-use hall can become a great movie theatre. This guide shares practical wisdom from veteran festival producers on how to make non-cinema venues festival-ready and truly cinematic.

Choosing and Preparing the Venue

Before diving into gear and gadgets, evaluate your venue’s basics. Consider the hall’s size, shape, ceiling height, and existing infrastructure:

• Layout and Size: Map out the hall’s dimensions and seating capacity. A larger hall might accommodate more viewers but could need extra equipment (like a bigger screen or more speakers). A smaller hall might limit capacity, but you can create an intimate boutique cinema vibe.
• Ceiling Height & Throw Distance: A high ceiling can be a blessing – it allows for a larger screen and better projector placement. Measure the throw distance (distance from projector to screen) available; ensure your projector lens can fill the screen from that range.
• Ambient Light Sources: Identify windows, skylights, or glass doors that could let in light. Also note any light spill from exit signs or adjacent rooms. Plan for blackout solutions early (more on that later).
• Acoustics and Noise: Clap your hands in the empty hall – do you hear a long echo? Many gyms and community halls are echo-prone (“live” acoustic environments). Take note of HVAC vents, air conditioners, or refrigerators whose hum might compete with your film’s soundtrack. The venue’s noise floor (background noise level) is crucial for quiet scenes in films.
• Power Supply: Check the electrical capacity. Projectors, amplifiers, and stage lighting draw significant power. Work with an electrician or the venue manager to ensure you have enough circuits and that you won’t blow a fuse mid-screening. If needed, arrange for a portable generator or additional distribution boards (and always have surge protection and proper cabling).

If you have multiple venue options, choose the one that balances capacity with manageable challenges. For instance, a slightly smaller hall with solid walls and fewer windows might be preferable to a bigger gym with glass walls and loud A/C. Successful festival organisers often scout venues at night to truly gauge their suitability – an empty hall at midday can feel very different (and problematic) once it’s full of people in the dark.

Screens: Go Big and Professional

One of the most impactful upgrades is a proper cinema screen. While a blank wall or a bedsheet might suffice for a casual movie night, film festivals demand a polished presentation:

• Hire or Rent a Quality Screen: Look for professional projection screens, such as fast-fold framed screens or even inflatable screens for larger spaces. These provide a flat, taut surface for a crisp image. For example, the Dharamshala International Film Festival in India operates in a town with no cinemas – they partnered with a company to bring in inflatable digital screens, creating instant theatres in school halls and even open fields under tents. This allowed them to screen movies in high definition with proper contrast, despite having no permanent cinema.
• Size and Aspect Ratio: Choose a screen size appropriate for your hall and audience size. Aim for every viewer to clearly see the image. Common aspect ratios are 16:9 or the wider 2.39:1 for cinema – ensure your screen matches the film format or has masking (adjustable black borders) to frame the image neatly. A larger hall might accommodate a 30-foot wide (9m) screen or more, whereas a small community centre might use a 12–16 foot (4–5m) screen. Always err on the side of a bigger screen if the space allows; the “big screen” feel is central to the cinematic magic.
• Screen Placement: Position the screen so that its lower edge is elevated enough for people in the back rows to see the full picture even if someone tall sits in front of them. Typically, the bottom of the screen might be 3 to 4 feet (1m) off the floor in small halls, and even higher (5–6 feet / 1.5–1.8m) in larger venues. If the venue has a stage, that’s an ideal spot since it’s already raised. In a flat-floored room, you may need to build a platform for the screen or use a screen with long legs so it stands taller.
• Rear vs. Front Projection: If you have space behind the screen, consider rear projection. Rear projection screens allow the projector to sit behind the screen, projecting toward the audience. This setup eliminates the chance of people walking in front of the projector beam and casting shadows, and it can be tidier in terms of hiding equipment. However, rear projection needs extra throw distance behind and a high-lumen projector (since the screen material filters some light). Front projection is more common and simpler in most halls – just be sure to safeguard the projector’s line of sight.

Professional screens often come with black skirting and drapes to frame the image and hide the screen supports. Use them – it makes the setup look like a real cinema, covering up tripod legs or trusses and focusing audience attention on the screen.

Projection: The Right Projector and Settings

A cinematic screen deserves a cinema-grade projector. Using a dim office projector will disappoint audiences, so plan for the best projection you can afford:

• Brightness (Lumens): In non-cinema halls, you’ll never achieve total darkness like a dedicated theatre, so compensate with a bright projector. Aim for a projector with at least 5,000 lumens for a small screen in a dim room, and 10,000 lumens or more for larger screens or less controlled lighting. Major festivals often use digital cinema projectors (DCP projectors) with 15,000–30,000 lumens for auditoriums holding several hundred people. The brighter the projector, the more vivid and saturated your images will remain even if there’s minor ambient light.
• Resolution and Format: Ideally, use a 4K or 2K DCI-compliant projector if you are screening DCPs (Digital Cinema Package files, the format used by cinemas). If those are out of budget, a high-quality HD projector (1080p) can work for smaller community festivals – just ensure it’s reliable and can play nice with the source (Blu-ray, laptop, etc.). Test the projector’s compatibility with your source media and make sure it can handle the frame rates and formats of your films (for example, 24 frames per second is standard for film, so the projector should support it without judder).
• Lenses and Focus: Check if you need a special lens. In a tight space, you may require a short-throw lens to get a big image from a short distance. Conversely, in a very large hall, a long-throw lens might be needed if the projector has to be far from the screen. Focus the projector carefully, and zoom it to fill the screen properly without spilling over the edges.
• Alignment and Keystone: Position the projector as perpendicular to the screen as possible (ideally centred horizontally and not too far above or below the screen’s mid-point). This avoids keystone distortion (where the image looks trapezoidal). If you must tilt the projector, use the projector’s keystone correction sparingly – too much digital correction can reduce image quality. In high-end setups, festivals use image processors or physically tilt the screen surface to align with the projector instead of distorting the image.
• Backup and Technical Rider: For critical screenings, consider a backup projector or at least have a spare lamp/bulb on hand if your projector uses one. Nothing stops a show faster than a burned-out projector lamp with no replacement. Professional festival projectionists also prepare a technical cue sheet or rider: a document listing all the equipment and settings (projector brightness, lens type, aspect ratio settings, audio configuration) so that nothing is overlooked.

Remember to secure the projector in place (use a sturdy tripod or scissor lift, and consider strapping or taping the projector down after alignment so it can’t be knocked or nudged). Mark the floor with tape where the tripod legs go, so if it is moved you can reposition exactly. Protect the projector from the audience: if it’s in the open, use stanchions or barriers to keep people from walking in front of it or bumping it.

Blackout Solutions: Control the Light

True cinema requires darkness. Light leaks will wash out your picture and distract viewers, so treating the venue to eliminate stray light is a top priority:

• Think Big if Needed: Even enormous, unconventional spaces can be tamed. In one instance, an automobile factory in England was transformed into a 1,000-capacity cinema for a special The Italian Job film screening. The production team built a free-standing truss structure draped entirely in black fabric to blackout the space and hung a 60-foot (18m) screen within it – suddenly the car plant felt like a custom-built theatre! If a car factory can be made pitch-dark and cinematic, your community hall certainly can too.
• Cover Windows and Doors: Use thick blackout curtains or panels on all windows. Many festival organisers travel with rolls of blackout fabric (duvetyn/commando cloth) and a staple gun or gaffer tape to seal off window frames and glass doors. If you’re in a gym with high windows or a glass wall, consider hiring professional drapery or pipe-and-drape systems to create temporary black walls of fabric. Blackout is non-negotiable – even a small beam of outside light can be glaring once the house lights are down.
• Eliminate Light Spill from Above: Many halls have fluorescent lights or skylights. Ensure all ceiling lights remain off during the show (if any safety lights must stay on, find a way to dim them or cover them partially without violating safety codes). If the hall has exit signs that are extremely bright, you cannot turn them off for safety reasons, but you can sometimes shield them from hitting the screen (for instance, by adding a little hood or shield above the sign so it directs light downward, or by using darker gel films to dim them slightly). Coordinate with the venue – some theatres use approved dimming filters on exit lights, but always check fire regulations.
• Doorway Management: Plan how you’ll handle doors during the screening. If people enter or exit, that can spill light from lobby or street. You might institute a “no entry after film starts” rule to minimise door openings. Alternatively, use double-door vestibules or have volunteers act as “light locks” (opening one door at a time to avoid a direct beam of light in).
• External Light Sources: Check for any outdoor lights (street lamps, neon signs, etc.) shining in. If you find any, see if they can be switched off for the duration of your event (with permission), or block them with temporary barriers or more drape. One open-air film festival in Mexico famously screens horror films in a cemetery at night – they had to coordinate turning off some nearby streetlights during the show to maintain the eerie darkness and keep the screen bright.
• Glow and Gadgets: Remind your audience (via pre-show announcements or on-screen slides) to dim or turn off their phone screens. In a dark makeshift hall, a single bright phone can be very distracting, since the venue might not have the subtle ambient floor lighting that cinema auditoriums usually have.

Efforts put into blacking out a venue pay huge dividends. A fully darkened hall allows the projection to really pop, and it contributes massively to audience immersion – they’ll forget they’re in a community centre or tent and get lost in the film.

Sightlines and Seating: Solve the Flat Floor Problem

Unlike stadium-seated cinemas, most multipurpose halls have flat or only slightly raked floors. This can lead to sightline issues – heads blocking the view or viewers craning necks to see the lower part of the screen. Here’s how to ensure everyone gets a clear view:

• Use Risers or Tiered Seating: If budget permits, rent tiered seating risers or bleachers. Many event production companies offer portable seating banks that can turn a flat floor into a gradated mini-theatre. For example, the Telluride Film Festival (USA) transforms venues like school gyms and tents into cinematic screening rooms by installing platforms and risers for rows of chairs. This creates an incline so each subsequent row is a bit higher. It’s a significant undertaking – akin to building a temporary theatre inside a hall – but it can elevate the audience (literally) for a much better experience. Even a small two-step riser at the back can help those in the last rows see over the people in front.
• Stagger Chair Placement: If risers aren’t possible, you can mitigate sightline problems by spacing seats with more stagger. Set up chairs in a chevron or curved arrangement facing the screen instead of straight columns – this can give people a sightline between the heads in front of them. Also allow ample row spacing so viewers can slightly adjust position if needed.
• Chair Type and Comfort: Use chairs with low backs if possible (so that a tall chair back isn’t another visual obstacle). If you expect a long screening or multiple films, padded chairs or seat cushions will be appreciated – a comfortable audience is a happier, more attentive audience. Some festivals provide cushions or even encourage people to bring their own for added comfort in unconventional venues.
• Screen Height: As mentioned earlier, raising the screen bottom edge is key. If you cannot get risers for seats, consider raising the screen even higher. You might need to elevate the screen on truss towers or secure it to the venue’s wall higher up (with permission and proper safety). Just remember that raising the screen too high can cause viewers in the front to tilt their heads way up; try to find a balance and perhaps test by sitting in the front and back rows during setup.
• Projector Positioning to Avoid Shadows: With a flat floor, if the projector is placed among the audience, anyone walking or standing can cut through the beam. Ideally, project from a high angle: place the projector on a balcony or high platform at the back of the hall (if available), or suspend it from the ceiling or a tall tripod. Another trick is to project from a booth or window at the rear if the hall has one. By keeping the projector height above head level, you ensure late arrivals or people stretching don’t cast silhouettes on the screen.

Finally, have dedicated ushers to help seat people efficiently. In a darkened multi-use hall, it’s harder for people to find seats. Ushers with small flashlights (with a red or orange filter to reduce glare) can guide latecomers to empty seats in the front without too much disruption, and also help enforce any no-standing rules (preventing someone from standing at the back and blocking the view).

Sound and Acoustics: Treat the Echo

Great sound is as vital as great visuals. However, multi-use halls often present acoustic challenges – hard walls and floors cause echoes, and the venue’s sound system (if it has one) may not be intended for cinema-quality audio. Here’s how to achieve clear, immersive sound:

• Bring a Tuned PA System: Do not rely on small built-in speakers or a single karaoke amp. Rent or bring a professional PA system, including at least three speakers across the front (left, centre, right channels) and subwoofers for bass. Many film festival setups use a left, centre, right (LCR) configuration like a real cinema, and if possible, add two surround speakers (left surround and right surround) for a basic 5.1 surround setup. If full surround isn’t feasible, a good stereo L/R system plus a powered subwoofer can still outperform a venue’s default speakers. Ensure the amplifiers can deliver undistorted sound at high volume – action films or musical scores will need some headroom.
• Speaker Placement: Position the front speakers at screen level if you can – viewers should feel like sound comes “from the screen”. Place the centre speaker either just below the screen or behind it (if you’re using a perforated cinema screen that allows sound through). Surround speakers, if used, should be on the sides or back of the audience area, elevated above ear level. Take time to aim and angle speakers properly so sound coverage is even throughout the hall.
• Acoustic Treatment: To battle echoes and reverberation, add soft materials. Hang heavy drapes along side and back walls if possible – these absorb sound reflections significantly. In fact, some concert halls have built-in curtains they deploy for film events; Toronto’s Roy Thomson Hall, a classical concert venue used for film galas, was retrofitted with concealed velour curtains that can be lowered to deaden the hall for movies. You can achieve a similar effect with temporary velvet or velour drapes on portable stands (pipe-and-drape). Cover large flat wall surfaces and even parts of the ceiling with sound-absorbing material if viable (acoustic panels or even moving blankets can help in a pinch).
• Equalization (EQ) and Sound Check: Once your speakers are set up, do a thorough sound check by playing audio with a wide frequency range (like movie trailers or a music track) and walking the room. Use a sound mixer or graphic equalizer to tune the PA – dial back overly boomy bass that causes rumbles, and adjust treble for clarity of dialogue. In echoey rooms, sometimes reducing certain mid-range frequencies can improve speech intelligibility. If available, employ a sound engineer with experience in live venues; they might use tools like a real-time analyzer (RTA) microphone to identify problematic frequencies to cut. The goal is for dialogue in films to be crisp and for the audience not to notice the hall’s echo at all.
• Manage Noise Sources: During the show, try to minimise extraneous noise. That might mean turning off or lowering the HVAC system (if weather permits) to reduce fan noise – some venues have loud heating or cooling that you can temporarily pause. Also, ensure the venue’s bar or lobby (if adjacent) keeps it quiet during the screening. If the hall is near a noisy street, consider scheduling your quietest, most dialogue-heavy films at times with less traffic, or use a bit more volume to mask mild outside noise.
• Microphones for Intros/Q&A: Often at festivals, someone will introduce the film or a filmmaker will do a Q&A afterward. Use a good wireless microphone or two, and test them on the PA to ensure no feedback. In a non-cinema hall, the acoustics can cause mic feedback easily (sound from speakers looping into the mic). Prevent this by keeping mic volume moderate, using directional mics, and having the person speak in front of the speakers (not wandering into the speaker output area). Have your audio tech ready to mute or adjust levels during such talks.

A well-calibrated sound setup in a multi-use hall can rival the audio experience of a real cinema. Audiences will be impressed when explosions rumble appropriately and quiet moments are free of distracting echoes. It’s all about controlling the acoustics and using quality equipment.

Test Everything – Especially at Night

Once the equipment is in place, extensive testing is your insurance policy for a smooth screening. Seasoned festival producers make it a point to test under real conditions:

• Dress Rehearsal Screening: Do a full run-through with a test film or actual content the night before (with no audience except staff). Start it up exactly like you would on event night – play the pre-show reel or trailers, then the feature, and even let the end credits run. This rehearsal helps you check synchronization (audio matches video), focus, brightness, and sound levels throughout the programme. It’s much better to discover a subtle audio hum or a slight focus issue now than during the premiere.
• Check for Light Leaks in Darkness: Conduct tests at night or with the hall fully darkened. As you test, have someone walk around looking for any chinks of light sneaking in – maybe the top of a curtain isn’t fully flush, or tape on a window shifted. Stand on stage or by the screen and look toward the audience to spot tiny LED indicators or exit signs that might be visible; from the audience perspective, those could be distracting. This is the time to fix those issues (add more drape, cover LEDs with a bit of tape, etc.).
• HVAC and Ambient Noise: During your test screening, run the HVAC as it would be during the event (if you plan to run it at all). Sometimes a hall’s heating/cooling may only reveal an aggressive noise once it kicks in after an hour. Listen during quiet scenes: can you hear the air conditioner hum or a rattling vent? If yes, you might decide to pre-cool or pre-heat the room and then switch off noisy blowers during the film. Alternatively, see if the venue can run HVAC in a quieter mode. Also, step outside at night – are there any unexpected noises (e.g., a 9 PM church bell next door, or automatic outdoor lights that hum)? Knowing these in advance lets you plan around them.
• Power Load Test: With everything on (projector at full brightness, sound system powered, lights dimmed), ensure the electrical system holds steady. If the hall’s circuit breaker trips during your test when you push the projector to brightest or hit a loud bass note, you need to redistribute load or use additional circuits. It’s better to trip a breaker during a rehearsal than with 300 people in their seats! Mark which circuits or outlets to use (and which to avoid overloading) for showtime.
• Final Adjustments: Use the test to fine-tune. Maybe you realise the image could be a bit brighter – you might increase projector lamp power or close a last crack of light. Or the test audience (your staff/volunteers) notes a slight echo on dialogue – you might add another drape or tweak the EQ further. Have a notepad during testing and jot down all observations, then methodically address each.

Don’t forget to test the whole workflow – if you have an intro speech, test the microphone; if you have subtitles, play a segment to ensure they’re readable from the back; if multiple sources (like a laptop for a presentation and a cinema server for films), practice switching inputs so it’s seamless. A full tech rehearsal from “doors open” to “end credits” is the gold standard. It can be time-consuming, but it’s a major confidence booster and often the difference between a hiccup-free premiere and an avoidable technical failure.

Show Flow and Crew Rehearsal

Beyond just the technical aspects, you should rehearse the show flow with your team:

• Cue Timing: Go through the sequence of events – when house lights will dim, who hits “play” on the projector or server, when the emcee takes the stage for a welcome, how long trailers or sponsor reels run, and when to bring lights up for intermission or post-film Q&A. Rehearse these cues with walkie-talkies or headsets if your team uses them, or at least a clear verbal countdown. Everyone should know their cue – for example, the lighting person dims the lights when the projector starts; the projectionist knows not to start the film until they get a “go” from the front-of-house manager that all guests are seated.
• Staff Roles: Ensure all staff/volunteers understand the plan. Who will manage the entrance door if someone arrives late? Who will monitor the temperature or noise during the show? If there’s an emergency (like someone feeling unwell or a fire alarm), what’s the procedure? Assign clear roles (e.g., one person responsible for pausing the film if needed and bringing up lights, others for guiding audience out calmly, etc.). While such incidents are unlikely, being prepared is key – this is also part of risk management.
• Content Checks: Scrub through each film file or DCP to verify it plays correctly. Sometimes a file might have an error half-way through – catch that during rehearsal. If you have multiple films back-to-back, practice the transitions. Will you stop and change files? Will there be a “please wait for the next feature” slide? Knowing this and rehearsing it avoids awkward silences or wrong content on screen.
• Credits and Lights: Often festivals like to honor the filmmakers by letting the end credits play out fully (especially if the filmmaker is present). Discuss in advance: will you fade out projection at the very end or let the projector run until it auto-stops? Will house lights come up slowly as credits begin, or only after they finish? Consistency here makes your festival look professional. Rehearsing the end routine (lights up, perhaps background music fades in, MC returns to stage for Q&A or closing remarks) keeps things smooth.
• Q&A Setup: If you’ll invite filmmakers up after the film, decide where they will sit or stand, have chairs ready, and test a second microphone for the audience if you plan audience questions. Do a quick simulation of a Q&A – even just to confirm that the extra mic works and there’s a lighting cue to slightly illuminate the stage or panel area after the film. This ensures your guest speakers aren’t left awkwardly in the dark or unheard.

Rehearsals not only iron out technical kinks but also calm everyone’s nerves. By showtime, your crew will operate like a well-oiled machine, and the audience will simply enjoy a seamless show, never realizing the hall they’re in is not a full-time cinema.

Additional Logistics and Tips

Bringing a non-traditional venue up to festival standard involves more than screen and sound. A few extra considerations to keep in mind:

• Ticketing and Entry Management: Unlike a multiplex, your hall might have limited entry points or no foyer. Set up a clear ticket checkpoint. If using a digital ticketing system (for example, Ticket Fairy’s platform) on mobile devices, test that your scanners or apps work in the venue (especially if internet or cell signal is sparse in a thick-walled hall – offline mode might be needed). Have clear signage or volunteers directing attendees to the entrance and forming an orderly queue before doors open. Starting on time is crucial at festivals, so give yourself time to check tickets and seat everyone – potentially open doors earlier than you would in a regular theatre since unfamiliar venues take longer for people to navigate.
• Comfort and Amenities: Check restrooms location and make sure they’re accessible (and clearly marked, since the hall might be in a school or complex of rooms). Announce this at the start so people aren’t lost during a bathroom break. If the hall doesn’t have built-in concessions, consider a simple setup for water or snacks (if allowed) or partner with a food truck or vendor outside. Hydration is important, especially if you turned off the A/C for noise reasons – have water available.
• Climate Control: Speaking of A/C, balance comfort with noise. If you do turn off HVAC during the film, monitor the temperature. In a packed hall, things can get warm or stuffy. You might run the fans or ventilation on low, or do a burst of cooling between screenings. Provide handheld fans if it’s likely to get hot, or have blankets on hand if it’s a cold climate and heat is lowered – small touches like this show you care about the audience experience.
• Safety and Accessibility: Never compromise on safety to achieve cinema conditions. Keep aisles clear of cables (use cable covers/tapes and route cables around seating areas). Ensure exit paths are visible enough – perhaps use battery-powered floor lights with very dim, directed light just to mark exits. Have a first-aid kit on site and a plan for emergencies. Also consider accessibility: reserve some easily accessible spots for wheelchair users (most halls are flat which helps, but make sure any riser sections have alternate viewing options for those who can’t climb). If possible, provide captions or assistive listening devices for those who need them, especially if you know your audience might include hearing-impaired guests.
• Community Engagement: If you’re using a local community hall or school, involve the community. Local volunteers or the hall’s regular users can offer valuable help and advice. For example, a community theatre group that uses the hall might already have some lighting or sound gear, or knowledge of the acoustics. Engaging them in the festival (inviting them to help or attend free of charge) builds goodwill. In one festival, the organisers made a point to credit the local high school’s drama club for assisting with setup – the students got a shout-out and invaluable experience, and the festival gained a passionate setup crew. Such collaboration turns the venue transformation into a community project, and that pride often translates into better care for the space and a supportive audience.
• Budget Wisely: Transforming a hall can be cost-effective compared to renting a commercial cinema, but expenses add up: equipment hire, draping, seating rentals, extra staffing, etc. Get quotes early for projection and audio gear – sometimes AV companies offer festival packages or sponsorship deals (perhaps a projector company might sponsor by providing a unit at a discount in exchange for acknowledgment). Prioritize the budget on the elements that impact audience experience the most: screen, sound, and comfort. It’s better to have a great projector and make do with simpler stage dressing than vice versa. Keep some contingency funds for last-minute fixes – e.g., renting an extra fan or buying more blackout cloth when you discover a new light leak.

By anticipating these logistical factors, you ensure that nothing distracts from the film itself. The ultimate goal is that as the lights go down and the movie starts, the audience forgets they’re in a multi-use hall at all. They’re simply absorbed in the story on screen.

Key Takeaways

• Plan Early: Assess your multi-use hall’s challenges (light, sound, space) well in advance. Early venue visits (ideally at night) help you map out solutions for blackout and acoustics.
• Invest in the Big Three – Screen, Projector, Sound: A festival-worthy presentation demands a bright projector, a large high-quality screen, and a robust sound system. These will define the cinematic feeling more than anything else.
• Create Darkness: Use blackout curtains, drapes, and ingenuity to eliminate ambient light. A dark hall with a bright screen is fundamental to a great film viewing.
• Mind the Sightlines: Solve flat-floor viewing issues with elevated screens and, if possible, seating risers. Ensure every guest can see the screen comfortably – test by sitting in various spots during setup.
• Tune the Audio: Treat the venue acoustically (hang drapes, etc.) and calibrate your sound system for clarity. Clear, well-balanced audio keeps the audience immersed and dialog intelligible.
• Test and Rehearse: Never skip a full run-through. Test all equipment in real conditions and rehearse the show flow from introductions to end credits. This catches issues early and ensures a smooth event.
• Logistics and Safety: Manage ticketing, crowd flow, and comfort proactively. Tape down cables, keep exits clear, and have a plan for emergencies. A safe, comfortable audience is a happy audience.
• Be Adaptable and Resourceful: Each hall is different – be ready to improvise (maybe you’ll need an extra fan, or to borrow a curtain from a local theatre). Draw on community support when available, and acknowledge their help.
• Festival Magic Anywhere: With thought and care, you can create an authentic cinematic atmosphere in any venue. Your audience will remember the film and the fantastic experience, not the minor fact that the hall usually hosts basketball games or town meetings!

Turning a multi-use hall into a movie palace is both a science and an art. It requires technical know-how, creativity, and teamwork. But as countless festival producers around the world have proven – from mountain villages hosting international film screenings, to big cities converting concert halls for gala premieres – the effort is worth it. When the projector ignites and that first frame lights up the screen, you’ll see the audience’s eyes widen and faces glow, and you’ll know: you’ve given them the magic of cinema, no matter where they are.