Thread: IMAX Launches “Filmed In IMAX” Program – Welcomes ARRI, RED, Panavision, and Sony

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  1. #1 IMAX Launches “Filmed In IMAX” Program – Welcomes ARRI, RED, Panavision, and Sony 
    Senior Member rand thompson's Avatar
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    IMAX Launches “Filmed In IMAX” Program – Welcomes ARRI, RED, Panavision, and Sony


    By YOSSY MENDELOVICH for Y.M.Cinema


    Article
    https://ymcinema.com/2020/09/18/imax...sion-and-sony/







    New “Filmed In IMAX” Programme Promises To Usher In Full-Frame Aspect Ratio Era


    By Benny Har-Even


    Article
    https://www.forbes.com/sites/bennyha.../#7f5ffea655e3
    Last edited by rand thompson; 09-18-2020 at 12:48 PM.
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  2. #2  
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    The last convulsions of the old rulers.
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    Senior Member Patrick Tresch's Avatar
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    I don't understand why those cameras are choosen. Is it the resolution wich is the key to participate or also the sensor size?
    Why autorise a RangeVV and not a WeaponVV? If res is the key why not even accept Helium or Blackmagic 12k?
    It's probably more a marketting stuff. To sell the idea of digital Imax
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    Senior Member rand thompson's Avatar
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    Patrick,

    Maybe they will release some kind of technical White Paper on the specific technical aspects of the cameras chosen that qualified them for this program.
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    Moderator Phil Holland's Avatar
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    Unsure why regular old DSMC2 Monstro isn't here, but I suspect it's more to omit listing every single RED variant of the tech.

    it does appear that the key theme here is the FF35, VV, or larger format cameras are the focus. Given the rest of the components of the theme, they are looking for cameras that support some sort of RAW workflow, high color depth, and larger than S16 or S35 formats.

    I'll reach out to see if there's any other notable characteristics.

    I will say on several of my larger screen shoots we've deployed some rather interesting image processing techniques, curious if anything here is outside of the normal IMAX fair as well.

    Personally I'm for them putting a bit of a stake in the sand as theatrically IMAX in my mind should be tied to a very high quality cinema experience.
    Phil Holland - Cinematographer - Los Angeles
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  6. #6  
    Senior Member rand thompson's Avatar
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    Phil,

    Maybe it has something to do with Ranger Monstro's intergrated in/out components. Maybe IMAX thinks a modular in/out camera system might not lend itself to some stage in the IMAX workflow. Maybe it is like you said, a general list .


    Edit:

    It also says that;


    "IMAX will select only a limited number of films to participate in the program each year."

    So it not like once you get the "Filmed on Imax" approval that you can go out and film as many IMAX dedicated projects as you want.
    Last edited by rand thompson; 09-18-2020 at 04:11 PM.
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  7. #7  
    Moderator Phil Holland's Avatar
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    Quote Originally Posted by rand thompson View Post
    Phil,

    Maybe it has something to do with Ranger Monstro's intergrated in/out components. Maybe IMAX thinks a modular in/out camera system might not lend itself to some stage in the IMAX workflow. Maybe it is like you said, a general list .
    There won't be an approved camera list for any streaming or theatrical entity based around I/O. Perhaps for broadcast or if they ever mandate something like 4K monitoring on set as a requirement. All approved camera lists I"ve seen in the last decade to date squarely come down to codec, workflow, image quality, etc. In that regard, there is no difference between Monstro found in DSMC2, Ranger, or DXL2. Which is why you see them all playing together on productions that want the smaller body or larger body. Ranger and DXL2 are truly designed for A-Cam narrative work, as can be mostly achieved through several modules via DSMC2, just not all built in. DXL2 has some bigger processing power to support some of the other hardware features, cooling, and I/O stuff, Ranger some of the similar ideas. DSMC2 is just the more modular body.

    I can say safely that whatever their perspective it is based on image quality alone with a nod to the larger format as that is part of IMAX, though none of the cameras are 70mm 15-perf IMAX. However, a resolving power-wise, I can say safely that these cameras do the job. IMAX at it's best can resolve about 11.6K resolution purely, but due to a variety of factors we typically get around 5.7-6.5K out of it, mainly due to the glass used on 70mm as well as micro-vibrations when filming at speed. Though we typically scan IMAX in at 11K for those fortunate to film on the format, we've done a lot of testing in the last 5 years specifically on this front.

    On a side note, the only thing that kept me upgrading my Monstros to Ranger is that they literally don't fit in one of the rigs I use for about 1/3rd to 2/3rds of my filming year. If RED can keep the height of the body down a bit so it plays nicer with the Shotover F1, it's much more ideal for damn near everything else I do sans the array rigs.
    Phil Holland - Cinematographer - Los Angeles
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    2X RED Monstro 8K VV Bodies, 1X RED Komodo, and a lot of things to use with them.

    Data Sheets and Notes:
    Red Weapon/DSMC2
    Red Dragon
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  8. #8  
    Senior Member rand thompson's Avatar
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    Understood Phil,

    But you would think that they wouldn't draw such a line in the sand in their initial statement of "Ranger Monstro" instead of all high Resolution Full-Frame cameras. Maybe they will clear things up about any and all cameras that would potentially qualify for the "Filmed On IMAX" stamp of approval.
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  9. #9  
    Senior Member Karim D. Ghantous's Avatar
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    A limited number of films? IMAX could have a majority share of cinema audiences. It's a gold mine. Most people simply cannot get this experience at home.
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  10. #10  
    Senior Member rand thompson's Avatar
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    Imax Partners With Leading Camera Makers to Open Up Its Large-Format Production to More Filmmakers (Exclusive)


    By The Hollywood Reporter


    Article
    https://www.hollywoodreporter.com/be...kers-exclusive
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