One factor has been IMAX’s partnership with ARRI on converting the Alexa 65 camera for IMAX, with proprietary hardware and software. ![]() The question then becomes: Does an image need to be shot on the large format IMAX film stock to be worth seeing in IMAX? To some degree that’s a matter of personal taste, but over the last five years the quality of an “up-res’d” image has improved significantly. In most cases, filmmakers - like Damien Chazelle for his upcoming “First Man” and Patti Jenkins for “Wonder Woman 1984” - will only use them for “select scenes,” and only six non-Nolan Hollywood films have even used the large film stock. The cameras are cumbersome and loud, so even Nolan mixes them with other cameras: Thirty percent of “Dunkirk” was shot in regular 5-perf 70mm film. ![]() Nature or exploration documentaries were first to make use of IMAX cameras, but with “The Dark Knight” Christopher Nolan became the first director to use the large-format cameras for studio features. Originally, to fill these large screens, IMAX films were shot on special 15-perf, 70mm film stock that was significantly larger and captured far more detail than even 5-perf 70mm film stock. It’s a process that often means eliminating the first couple of rows and changing the pitch of the seats. ![]() The idea is to make a 70-foot screen feel like a 90-foot screen, while creating the angle for the viewer’s eyes in which it’s not a strain to take in the visual information. “So the first thing we do is we take the screen down and we move the screen closer to the audience and have it the full width and height of the envelope, or of the room.” “When we go into one of those theaters, we convert it and we have a piece of IP around this conversion,” said Bonnick.
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