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The system replaces the xenon arc lamp of a traditional digital projector with a laser light source, and is capable of 60 fps with "50 percent greater" brightness than the Digital Cinema Initiatives spec, a contrast ratio "double" that of IMAX 15/70 mm film projection and "higher" than the 2,500:1 contrast ratio of IMAX's xenon lamp-based ...
79 minutes shot with IMAX 70mm cameras. IMAX 70mm version shown in 37 theatres globally. [444] [411] [445] Presented in an expanded 1.43:1 aspect ratio for IMAX GT venues (70mm & Laser) and 1.90:1 for IMAX Digital. Home-Media (excl Streaming & DVD) retaining the expanded Aspect Ratio in a cropped 1.78:1 (16:9) for IMAX scenes.
Both Ultra Panavision 70 and MGM Camera 65 employed an anamorphic lens with a 1.25x squeeze on a 65 mm negative (as opposed to 35 mm CinemaScope which used a 2× compression, or 8-perf, horizontally filmed 35 mm Technirama which used a 1.5× compression). When projected on a 70 mm print, a 1.25× anamorphic projection lens was used to ...
It will be shown in 70mm Imax prints, as … However, the sci-fi epic is flying back to theaters slightly behind schedule. The Paramount Pictures film was slated to return on Sept. 27 but will ...
Christopher Nolan’s “Interstellar” will be re-released in theaters in honor of the sci-fi epic’s 10th anniversary. The film, which earned an impressive $731 million globally when it ...
Opportunities to catch the film in Imax 70mm include seven locations in California, two in London and one each in many cities including Dallas, Indianapolis, Nashville, Providence, R.I., and New ...
Phantom 65 IMAX 3D [66] Gone with the Bullets: 18 December 2014: 3D: Phantom 65 IMAX 3D [67] Captain America: Civil War: 6 May 2016: ARRI Alexa IMAX. Converted to 3D. [68] Sully: 9 September 2016: ARRI Alexa IMAX [69] Transformers: The Last Knight: 21 June 2017: 3D: ARRI Alexa IMAX [70] The Lion King: 19 July 2019: 3D: ARRI Alexa IMAX [71] [72 ...
The Master (2012) – The projected frame on 70mm release prints (and all digital prints) were "hard matted" to 1.85:1, clipping the sides and throwing away 16.3% of the full frame exposed on the 2.20:1 aspect ratio 65 mm negative. About 85% of the film was photographed in Panavision System 65; the rest was shot in spherical 35 mm with a 1.85:1 ...