In a conventional 65mm camera, the film passes vertically through the camera five perforations at a time, or 34m per minute. In comparison, in a conventional 35mm camera, 35mm film passes vertically through the camera, at four (smaller) perforations at a time, which translates to 27.4m per minute.
In the Todd-AO (a widescreen, 70mm film format that was developed by Mike Todd and the American Optical Company in the mid-1950s) format of widescreen cinema, the image area of a 65mm film-frame is 48.5mm × 22.1mm (1.91in × 0.87in); in the IMAX-format of widescreen cinema, the movie image is taller than it is wide, given the film-frame dimensions of 69.6mm × 48.5mm (2.74in × 1.91in).
To match the standard image resolution of the moving image produced with the film-speed of 24 frames per second, an IMAX film requires three times the length of (negative) film stock required for a 65mm film of comparable scope and cinematic technique.
Digital Re-mastering (DMR)
IMAX states that its “secret sauce” in the IMAX mix lies in the DMR (digital re-mastering) process, invented by IMAX Corporation.
IMAX spends months on location and in the editing room of its DMR facilities with the director and technical teams of each film – planning the shots, re-mixing the sound, meticulously adjusting the saturation, contrast, brightness and hundreds of details in virtually every frame with the aim of presenting the film at its very best.
It’s often done after the film is shot, but leading directors are increasingly asking IMAX to join the moviemaking process from the very start. For a growing number of Hollywood movies, IMAX is part of the film’s DNA.
Hear Adele perform Hello live for the first time:
That means that more often than not, an IMAX movie is conceived as an IMAX movie—with the filmmaker working with IMAX to decide which parts, for example, 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 colour, sheer scale and impact.
One such segment can be seen in The Hunger Games: Catching Fire, which sees Katniss Everdeen rise from an underground chamber into the battle arena. What follows is a 50-minute sequence filmed using IMAX cameras, resulting in an immersive, larger aspect ratio.
Projection
“When a technology undergoes a radical improvement, what’s the best way to transition?” asks IMAX. “Some jump on the bandwagon right away and – briefly – have the bragging rights. Others do the homework, sweat the details and wind up with the system that sets the standard for years to come. This is how we’ve always worked.”
Feel the IMAX Effects of Hello, Interstellar & The Hunger Games
The integration of digital into IMAX projection systems is an example. As digital entertainment emerged, IMAX began to face the next challenge: how could it make digital technology that would go above and beyond what the company is already known for?
“That’s simple,” says IMAX. “By focusing on the value this new format would bring: its greater precision, clarity and perfection of image quality. These are the qualities that IMAX digital projection systems bring to bear. And we only continue to improve that offering.”
Sound
“A surprisingly large part of the IMAX experience is the sound,” says IMAX. “That’s what makes an IMAX movie visceral. You don’t just see an IMAX film; you feel it in your bones.”
“One reason is the sheer power of the custom, patented speaker system in an IMAX theatre,” says IMAX. “Another is the wider frequency response—which means higher highs and lows so low they’re as much vibrations as sounds. It’s also important to understand that what makes great sound so elusive is the fact that sound is altered by the listening environment and the medium used to deliver it.”
