Results for “IMAX”
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Christopher Nolan and Matt Damon on The Odyssey, Interstellar, IMAX, David Keighley, The Dark Knight
0:49podcast episode, which is why I wanted to give context to that. But over the years, I've been very dedicated to understanding and talking about the IMAX0:58film making that he's been doing since The Dark Knight moving forward. And if you've been to an IMAX 70mm presentation, which is absolutely the1:31sequences in IMAX versus a 35mm camera or a 65mm camera. So you look at Interstellar, for example, he shot 35 mil and then he also shot 65 mil IMAX.
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19:53It demands to be seen at IMAX on the biggest screen possible. The Dark Stars.1:19:34It demands to be seen in IMAX on the biggest screen possible. The Dog Stars, rated R. Now playing in theaters and IMAX.1:49:04It demands to be seen in IMAX on the biggest screen possible. The Dog Stars, rated R. Now playing in theaters and IMAX.
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See all ›Autumn Durald Arkapaw talks Sinners, Cinematography, IMAX, Ultra Panavision, Aspect Ratios, & more
Cinematographer Autumn Durald Arkapaw discusses her groundbreaking work on Ryan Coogler's 'Sinners,' becoming the first woman to shoot a feature in 65mm IMAX and the first to mix 65mm IMAX with Ultra Panavision 70.summaryTechnical Format Strategy: 'Sinners' utilizes a hybrid approach, shooting primarily in Ultra Panavision 70 (2.76:1) for wide landscapes and switching to 65mm IMAX (1.43:1) for intimate character moments or high-impact setakeawayIMAX Camera Limitations: The IMAX camera is extremely loud (likened to a lawn mower) and has a short magazine life (approx. 2.5 minutes, downspooled to 76 seconds for Steadicam use). This necessitates shooting dialogue-htakeaway
Christopher Nolan and Matt Damon on The Odyssey, Interstellar, IMAX, David Keighley, The Dark Knight
Christopher Nolan and Matt Damon discuss the technical and artistic breakthroughs of filming The Odyssey entirely in IMAX 65mm 15-perf format, enabled by the quieter 'Keldyn' camera and blimp system.summaryIMAX Technology Evolution: The new 'Keldyn' camera (named after David and Patricia Keelley) and blimp system allow for quiet IMAX filming, enabling intimate dialogue scenes previously impossible due to camera noise. ThistakeawayMirror Eyeline System: To solve the eyeline issue caused by the large blimp around the IMAX camera, Nolan devised a mirror system allowing actors to look at each other's reflections, maintaining emotional connection and takeaway
Christopher Nolan - “The Odyssey” | The Daily Show
Christopher Nolan discusses the production of 'The Odyssey,' highlighting his commitment to practical realism, IMAX technology, and narrative structure.summaryIMAX cameras are notoriously loud, limiting their use to action scenes; however, Nolan collaborated with IMAX to create a 'blimping system' (high-tech box) that silenced the cameras, allowing for dialogue capture in IMAXtakeaway“Because the cameras are so loud, we couldn't do performances. We couldn't capture the dialogue. And so finally, with this film, I called them up. And I said, look, if ever there were a film to do the entire film in IMAXquote
The Secret Of The Odyssey - with Christopher Nolan, Matt Damon, Anne Hathaway, Tom Holland & Zendaya
Christopher Nolan and cast members Matt Damon, Robert Pattinson, and Lupita Nyong'o discuss the making of 'The Odyssey,' highlighting Nolan's immersive directing style, the use of revolutionary silent IMAX cameras, and tsummaryThe film was shot entirely on IMAX cameras for the first time in a dramatic feature, made possible by a new 'blimp' technology that silenced the loud cameras, allowing for intimate dialogue scenes previously impossible wtakeawayIMAX film magazines hold only 2.5 minutes of footage, requiring an F1-pit-crew-like speed from the camera department to reload and reset between takes, creating high pressure but also a unique workflow.takeaway