Large Format/"Premium" Theaters (IMAX 15/70, Digital IMAX, XD, ETX, RPX, etc.)

[PeterTHX]

Originally Posted by Geoff D

Yeah, I was under the impression that it'd be 1.90 throughout but the bokeh of anamorphic is unmistakable in the trailer, likely the UP70 glass again.

But someone mentioned something that because the Alexa 65 is 6.5K anyways they could've actually framed up the conventional 2.39 extraction a fair ways inside the anamorphic frame which would give them enough room to vertically embiggen.

I don't think anyone's done that though, have they?

The trailer being 2.39 and not a different ratio like Justice League leads me to think they won't do that. Question is now if they will expand on the home video releases like the 4K for the IMAX sequences since Disney is pretty much done with 3D in the USA.

[Geoff D]

Always a first time re: shooting 2.39 in that way, considering the real estate they've got to play with. But I don't think that the expanded ratio will make it onto the 2D home video editions, the foreign 3D discs most likely.

[GLaDOS]

Man, Mission Impossible: Fallout will be juicy in IMAX 3D.

[ITDEFX101]

It's in 3d IMAX?

[GLaDOS]

MI: 6 has select sequences shot with Arri Alexa IMAX cameras (3D rig).

Dat resolution

[UFAlien]

So there are couple new entries in the large format digital camera wars.

Arri's gone ahead and introduced the Arri Alexa LF, a sort of middle ground between their typical Alexas and the Alexa 65 with a sensor nearly the same height as the 65's but significantly narrower. Overall sensor size is comparable to the Red Weapon 8K VV but at a totally different AR; open gate on the Arri LF is actually 1.44:1, perfect for full-size IMAX extraction: https://www.arri.com/largeformat/

And Panavision is launching the Millenium DXL2, which will actually use Red's "Monstro" 8K VV sensor in a different body with its own processing and such:

https://ascmag.com/articles/panavisions-millennium-dxl2 (Article is exclusive to American Cinematographer subscribers)

[Gacivory]

Originally Posted by UFAlien

So there are couple new entries in the large format digital camera wars.

Arri's gone ahead and introduced the Arri LF, a sort of middle ground between their typical Alexas and the Alexa 65 with a sensor nearly the same height as the 65's but significantly narrower. Overall sensor size is comparable to the Red Weapon 8K VV but at a totally different AR; open gate on the Arri LF is actually 1.44:1, perfect for full-size IMAX extraction: https://www.arri.com/largeformat/

And Panavision is launching the Millenium DXL2, which will actually use Red's "Monstro" 8K VV sensor in a different body with its own processing and such:

https://ascmag.com/articles/panavisions-millennium-dxl2 (Article is exclusive to American Cinematographer subscribers)

The previous Millenium DXL was used to film New Mutants and I think the new Robin Hood movie.

[Geoff D]

Originally Posted by UFAlien

So there are couple new entries in the large format digital camera wars.

Arri's gone ahead and introduced the Arri LF, a sort of middle ground between their typical Alexas and the Alexa 65 with a sensor nearly the same height as the 65's but significantly narrower. Overall sensor size is comparable to the Red Weapon 8K VV but at a totally different AR; open gate on the Arri LF is actually 1.44:1, perfect for full-size IMAX extraction: https://www.arri.com/largeformat/

And Panavision is launching the Millenium DXL2, which will actually use Red's "Monstro" 8K VV sensor in a different body with its own processing and such:

https://ascmag.com/articles/panavisions-millennium-dxl2 (Article is exclusive to American Cinematographer subscribers)

Yup, VistaVision's negative ratio is 1.50 so it's no wonder Nolan used that format to fill in so much on his IMAX features, that size is perfect for such work. Be interesting to see how and where the regular Alexa goes from here. As long as people want to shoot with 2x anamorphics then there'll always be a place for the Super 35 Alexas (as well as that 'film' stuff) because you don't need a LF sensor for that.

[CelluloidPal]

Originally Posted by Geoff D

Yup, VistaVision's negative ratio is 1.50 so it's no wonder Nolan used that format to fill in so much on his IMAX features, that size is perfect for such work. Be interesting to see how and where the regular Alexa goes from here. As long as people want to shoot with 2x anamorphics then there'll always be a place for the Super 35 Alexas (as well as that 'film' stuff) because you don't need a LF sensor for that.

I've always though that film was more fitting for 2x anamorphics than the Arri Alexas, though I've seen some good ones.
I guessing that actual 65mm cameras will be harder to find since not to many exist anymore.

[GLaDOS]

So... is the Alexa 65 considered a medium or large format camera? Stupid question considering the Alexa AF is about the same height as the A3X sensor albeit a bit narrower and has a raw resolution of 4.5K.

[Gacivory]

Originally Posted by GLaDOS

So... is the Alexa 65 considered a medium or large format camera? Stupid question considering the Alexa AF is about the same height as the A3X sensor albeit a bit narrower and has a raw resolution of 4.5K.

Alexa 65 is considered Large Format.

[ITDEFX101]

I am curious..........how many real IMAX cameras have been lost during production? I am sure some of them have fallen off their rigs before.

[UFAlien]

Originally Posted by Gacivory

The previous Millenium DXL was used to film New Mutants and I think the new Robin Hood movie.

According to Steve Yedlin's interview in the current American Cinematographer issue, the Millenium DXL2 was actually one of the primary cameras on The Last Jedi. So I guess it's been around for a bit behind-the-scenes.

For what it's worth in the same interview he said the 35mm film cameras "didn't get used much." He didn't say which shots were done in IMAX.

[Gacivory]

Originally Posted by UFAlien

According to Steve Yedlin's interview in the current American Cinematographer issue, the Millenium DXL2 was actually one of the primary cameras on The Last Jedi. So I guess it's been around for a bit behind-the-scenes.

For what it's worth in the same interview he said the 35mm film cameras "didn't get used much." He didn't say which shots were done in IMAX.

The DXL2 is the second version, they previously announced in June 2016 and got into the wild around then probably after!

[UFAlien]

Originally Posted by Gacivory

The DXL2 is the second version, they previously announced in June 2016 and got into the wild around then probably after!

See for some reason I'm just now hearing about the DXL2...

[Gacivory]

Originally Posted by UFAlien

See for some reason I'm just now hearing about the DXL2...

There was issue with making the previous sensors, so this is the new revamped one with a sensor that’s easier to make and has a slightly better image.

[Scorpion Soldier]

Originally Posted by ITDEFX101

I am curious..........how many real IMAX cameras have been lost during production? I am sure some of them have fallen off their rigs before.

Two that I know of, ironically both in Nolan films. The first one was destroyed during the truck sequence in The Dark Knight and they crashed into one during the filming of The Dark Knight Rises.

[Eric The Duke]

Originally Posted by GLaDOS

Man, Mission Impossible: Fallout will be juicy in IMAX 3D.

The best use of IMAX was in Mission Impossible Ghost Protocol when the full frame faded in as Tom Cruise climed to the outside of the hotel building.

[Jonno2009]

Originally Posted by Eric The Duke

The best use of IMAX was in Mission Impossible Ghost Protocol when the full frame faded in as Tom Cruise climed to the outside of the hotel building.

The epic 360 camera spin around Katniss as she emerges from the elevator thing as the screen fully opens up was pretty badass aswell in Catching Fire

[agoofykindasuperman]

Originally Posted by Eric The Duke

The best use of IMAX was in Mission Impossible Ghost Protocol when the full frame faded in as Tom Cruise climed to the outside of the hotel building.

And it's like the only one we don't have on Blu-ray with switching aspect ratios.