That means, oftentimes, an IMAX movie is conceived as an IMAX movie – with the filmmaker working with IMAX to decide which parts should be shot with an IMAX camera, what kinds of techniques make the most of the IMAX screen, sound and theatre, and how the drama should unfold to take advantage of IMAX’s larger format, richer color, sheer scale and impact. Its commitment to excellence and its post-production expertise mean that 80 percent of all large-format films, whether produced by IMAX or by third-party producers, use IMAX Post/DKP Inc. for post-production and quality control. I have also appeared on BBC World Business News and BBC Radio Five Live. A film recorder for computer graphics and other specialty cameras have been designed for unique environments (e.g. Bruce Markoe, Imax's senior vp postproduction/operations and digital media remastering, explains that the general parameters for camera certification include that they offer resolution of 4K or higher and could allow the filmmakers to create an aspect ratio for Imax's more square screens (approximately a 1.43:1 aspect ratio) or floor-to-ceiling/wall-to-wall screens (1.90:1). All rights reserved. These filmmakers collaborated with Imax early on, as Imax was still putting together the new partnership program. (Read my interview with him about 70mm here). Usually, this is limited to films that capture on native 15/70mm IMAX cameras, such as one sequence in 2015’s Star Wars: The Force Awakens and in most Christopher Nolan movies. Another digital camera just recently announced capable of 1.43 is the Achtel 9x7, designed specifically for IMAX and “giant screen” cinema, and offers a record-breaking digital resolution of 18,688 x 14,000 pixels (260 Megapixels), which could help bridge the gap to IMAX film. Carolyn Giardina. “It starts in preproduction,” Markoe says. Colligan reports that Imax will select only a limited number of films to participate in the new program each year and will continue to offer its conversion services to remaster additional titles. To achieve such increased image resolution, which IMAX estimates at approximately 12,000 lines of horizontal resolution (12K), 65mm filmstock passes horizontally through the IMAX movie camera, 15 perforations at a time. Opinions expressed by Forbes Contributors are their own. It's really them understanding what our processes are, and how to use the cameras to get the best-looking images on our screens.”. These cameras are all capable of delivering really good images to Imax screens.”. They can use any of the digital cameras certified in the program, which are ARRI’s Alexa LF (large format) and Mini LF, Panavision’s Millennium DXL2, Red’s Ranger Monstro and Sony’s Venice cameras, as well as the aforementioned Alexa 65 Imax system. We want them to do camera tests, lens tests, costume tests – as when they see things on the big screen, they say OK, I get it now, this is cool! IMAX’s in-house team has been producing award-winning movies that entertain and educate people of all ages for decades. The programme isn’t just a badge that the camera manufacturers can put on their box, as it were. A big part of the program involves testing and reviewing those tests on Imax screens so that the film is designed by the filmmakers with the format in mind, starting in preproduction. I write about commercial cinema technology and smart-home tech. by About Our Ads IMAX has an extensive range of cameras and accessories for specialty large-format film production. Recommendations include additional settings from compression schemes to color science. Dune was lensed by Oscar-nominated DP Greig Fraser (Lion) with the ARRI LF, and Maverick by Oscar winner Claudio Miranda (Life of Pi) with the Sony Venice. The goal is creating the experience of Imax in the theater, in the way the filmmaker intended, “to make something in Imax versus converting something in Imax,” explains Megan Colligan, president of Imax Entertainment. However, as wonderful as native IMAX film cameras are, due to their size they are more difficult to use than conventional film cameras, not to mention the cost of film stock making them prohibitively expensive for all but the most dedicated film makers with bigger budgets to play with. IMAX says the first cameras to be certified with be the ARRI ALEXA LF and MINI LF, Panavision Millennium DXL2, RED RANGER MONSTRO, and Sony’s VENICE cameras along with the ARRI ALEXA 65 IMAX. Our various technologies and services extend beyond our cameras and our proprietary DMR process and can be scaled to suit a variety of needs. While Top Gun will stick to the 1.90 aspect ratio, most excitingly the latter three all have sequences that can expand to the full-frame 1.43 aspect ratio–screen permitting. “We want that expanded aspect ratio – we want [the filmmakers] to visualise how they are going to incorporate that into the story and the plot of the movie.
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