IMAX

As critics and historians we must not fall for the inevitable argument that positions IMAX as a revolution in cinema technology and aesthetics. So far, IMAX has been with us for forty years and is only now making waves in Hollywood’s swimming pool. As home cinemas become more prevalent and more impressive — and multiplexes become less immersive and impressive – IMAX is a format that continues to “wow” audiences.

Benjamin Wright - On IMAX and Hollywood

TIMELINE

The Fuss

IMAX is the Buzz word of the media industry at the moment, giving us all the opinion that it is a brand new inovative technology.

IMAX was formed as a successful company by Messers Ferguson, Kerr and Kroitor in 1967 in Canada. The first system was unveiled in Canada in 1967 with the first film shown in 1970 in Japan for the World Expo of that year.

1970

Tiger Child

The film was 17 minutes long and was directed by Donald Brittain, the point of this film was to show what IMAX could do.

1971

The openning of the first Perminent IMAX was made in Toronto Canada in 1971

1977

The Rescuers

Like with most cinematic technology Disney can be found experimenting and engaging with new ways to deliver their films to an audience. In 1977 Disney chose to show this film in an IMAX theatre.

1980'S

In the early 1980s, as the company expanded its theater and distribution network to include more locations in North America and around the world, technologically conscious filmmakers expressed interest in shooting with the system. Most notably, Francis Coppola, Steven Spielberg, and George Lucas pledged their support of IMAX technology as a viable out-of-home theatrical experience.

However, by the mid-1980s the IMAX format became associated with spectacular documentaries, travelogues, and short subjects that lent themselves to the immersive images and sounds of the process. Documentaries such as The Great Barrier Reef (1981) and Hail Columbia (1982) and The Grand Canyon (1984) are three early examples of the types of films that dominated the IMAX brand: educational and spectacular voyages through space and the sea.

1990's

In the 1990s, IMAX patented a digital multichannel audio system to compete with other emerging formats such as Dolby Digital 5.1. Together, the immersive image and sound technologies offer spectators an “experience” unlike other conventional theatrical venues.

The IMAX HD system was tested in 1992 at the Canada Pavilion of the Seville Expo '92 with the film Momentum. It was deemed too costly and abandoned but not before many theatres were retrofitted to project at 48 frames, especially in Canada, in order to play Momentum.[18] In the 1990s theme parks in Thailand, Germany, and Las Vegas used IMAX HD for their Motion Simulator rides.[19] The Disney parks attraction Soarin' Over California features a modification of both IMAX HD and IMAX Dome, projecting in 48 frames per second.

2002

In theAutumn of 2002, IMAX and Universal Studios released a new IMAX-format version of the 1995 film Apollo 13, the first application of IMAX's proprietary DMR (Digital Media Remastering) process, which allows conventional films to be upconverted into IMAX format. This special digital intermediate technology was developed for films shot on 35mm for conventional theaters to be shown in IMAX venues. This process offers a less sharp, less crisp image that is basically “stretched” to fit the taller format. Another option of the DMR format is to present a film in its original letterboxed format, which will leave empty space on the top and bottom of the screen.

2002-4

Since 2002 many other Hollywood films have been remastered for IMAX. Warner Brothers has especially embraced the format with the two Matrix sequels, and since 2004 has been releasing its Harry Potter film franchise in IMAX to strong financial success

Also in 2004 the company released the animated movie The Polar Express in IMAX 3D. Express became the most successful movie ever to be released in IMAX theatres, making at least a quarter of the film total worldwide gross of $302 million from less than 100 IMAX screens; because of its success, it has been re-released each holiday season since.

2005

In 2005 WB also released Batman Begins simultaneously in conventional theatres and IMAX, helping the film it reach $200M at the domestic box office.

2006

In summer 2006 WB released the highly anticipated Superman Returns remastered for IMAX, with some effects scenes transformed into 3D. Spider-Man 3 broke the IMAX gross record in 2007 by a huge margin.

2009

The July 2008 Batman Begins sequel The Dark Knight (partially shot on IMAX – see below) broke box office records for IMAX, taking in about $6.3 million from 94 theaters in the U.S. and Canada over the opening weekend

2010

Liverpool One opens their IMAX and the Summer box office sees two simultaneous releases in IMAX: 'Inception' and 'Toy Story 3'

The current IMAX opening weekend record (as of December 2013) is held by The Avengers which generated $15.3 million on 275 digital screens domestically over its first three days.

As of 31 December 2013, there are 837 IMAX theatres in 57 countries.

The Technology

The format boasts an image surface area that is up to ten times the size of normal 35mm film. Using 70mm film turned on its side with 15 perforations per frame, the frame size is square-shaped (1.34:1) as opposed to the wider processes of standard 35mm film. With such a large frame surface area, more light is capable of striking the negative, which results in sharper images with less grain.

It might surprise you to know that many films don't arrive at the Theatre pre-assembled. As with the case of Transformers 2, it arrived in eight rather ordinary looking cardboard boxes — containing 45 separate reels. Each reel lasts only three to four minutes on screen. The reels are then spliced together by our projection team here on site — a job taking about eight hours.

Our films screen at 24 frames per second. Each frame is more than 70mm wide... meaning that 1.7 metres of film pass through the projector every second

The pictures below give you a rare behind-the-scenes look at the process of assembling these giant prints before opening night...

Largest IMAX in the World Blog (Sydney, Australia)

Preparing the film

Preparing to cut off the leader of reel

About to wind a reel

Making the join of reels 8 and 9. In the background you can see stored some of our many other 45 minute film titles.

Preparing for a join of two reels

Applying splicing tape

Checking the join before winding on another reel

Applying splicing tape

Viewing 15perf/70mm film on the lightbox

LIMITATIONS

Why hasn’t IMAX fully partened with Hollywood studios and filmmakers?

"The IMAX format imposes particular possibilities and limitations. Since the viewer sits lower in relation to the IMAX screen than in a conventional theatre, the frame’s centre lies about a third of the way up from the bottom of the screen. Close-ups therefore need plenty of headroom. While long shots can be framed wider than usual, the movement from extreme long shot to medium close-up can be very condensed and the screen’s enormity cannot tolerate grainy or irresolute images. It is interesting to note that one of the difficulties (or challenges) the IMAX format poses have provoked reactions very similar to those expressed by directors working in early CinemaScope … Longer pacing and the large frame are ideal for the wide-world films IMAX produces but they send acting, dialogue and emotional scenes into the wrong orbit. Quick cuts are a rarity in IMAX, because they would subject the audience to severe jolts and probably violent nausea."

Tara Wollen

There are other concerns that Wollen does not mention. First, there is the issue of expense. It’s very expensive to shoot in the 15/70mm format and to distribute hundreds if not thousands of prints to theaters.

Second, it’s noisy. IMAX cameras are notoriously loud, since they must feed the large negative through the camera at 24 fps. As a result, dialogue is virtually impossible record on set, especially if the camera is close to an actor reading her lines.

Lastly, the IMAX cameras are heavy. Hand-held shots are hard, if not impossible, to achieve, which leaves filmmakers with a more limited stylistic palette; crane shots, static shots, and tracking shots notwithstanding.

http://www.imax.com.au/blog/2009/06/getting-it-together-for-the-big-screen/

http://en.wikipedia.org/wiki/IMAX

http://aspectratio.wordpress.com/2008/07/23/on-imax-and-hollywood/

1967

Task

Now that you know everything you need to about IMAX and it's abilities and workings I want you to go and write an essay. Your question is:

"What is the long term affect of IMAX in British cinema, for both audences and institutions? Evaluate the pros and cons of the format along with the experience of IMAX." Don't forget to refer to your case studies (Warner Brothers and Warp Films)