We’re Getting 3 films With 70MM IMAX Footage Next Year (2020)

Tenet (Christopher Nolan, cinematography by Hoyt Von Hoytema)

Bond 25 (Cari Joji Fukanga, cinematography by Linus Sangren)

Wonder Woman 1984 (Patty Jenkins, cinematography by Matthew Jensen)

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I’m making this post because I think 70MM IMAX film might be the most incredible and gorgeous format out there and it’s very rare that a film actually contains footage from it (Usually it’s been one a year since The Dark Knight first used it in 2008). I genuinely think it reminds you how special cinema and the theatrical experience can be when it’s used.

I’m sure those of you who saw films like First Man, Dunkirk, Interstellar, Catching Fire, MI4, The Dark Knight Rises and The Dark Knight can attest to this.

These are the most releases we’ve had for real 70MM IMAX feature films in a single year.

I highly recommend everybody seeks out somewhere that will be showing it in that format for the full experience, especially if you haven’t seen a 70MM IMAX film before. Your second best option will be Laser IMAX (which also gives you a cleaner image if that’s your preference) and they usually won't crop the film how a Digital IMAX theatre does.

Both Hoyt Von Hoytema and Linus Sangren have worked with 70MM IMAX before. Hoytema with Nolan shooting Interstellar and Dunkirk. Sangren with Damien Chazelle shooting First Man. So for those films you’re getting people are experienced with the format and know how to use it.

Tenet is even having it’s non 70MM IMAX footage shot in regular 65/70mm meaning it’ll rival Dunkirk as the highest quality film out there.

What Makes This Special?

70MM IMAX isn’t the same as recent films claiming to have been ‘shot on IMAX cameras’, IMAX recently branded a slightly modified version of the Arri Alexa 65 as an Arri IMAX which is the basis for this quote.

While still an absolutely fantastic camera (trust me I would kill to film on one) and on the high end of Digital cameras it’s not the same and is limited to the Digital IMAX aspect ratio as well as digital mastering. Whereas 70MM IMAX provides you with the full aspect ratio and higher quality the format provides.

It’s essentially a marketing gimmick because any digital camera will shoot in that larger ratio and we’ve even had ‘formatted for IMAX’ films which just uncrops/opens the matte box for certain films so they fill the Digital IMAX screen (Which is actually shorter than 16:9). Basically the only thing IMAX about it is the branding.

These images provide easier to digest info on the aspect ratio difference between Widescreen, Digital IMAX and 70MM IMAX, as well as the quality difference between the viewing experiences.

https://i.imgur.com/GhGQHFw.jpg

https://d13ezvd6yrslxm.cloudfront.net/wp/wp-content/images/dunkirk-formatguide.jpg

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I think with the fact that every blockbuster gets released in IMAX nowadays and the dilution of the brand that it’s important to go support real shot on 70MM IMAX. It’s a beautiful format and I hope filmmakers continue to shoot on it.

Also not a PR stunt, I just genuinely love the format and am excited to have so many films featuring footage on it next year.

Submitted June 20, 2019 at 02:24AM by FilmStudentFincher http://bit.ly/2ZsPch4