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First, ILM has been working on the IMAX version for months now. The conversion will be better than the original one.

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The DMR process is a proprietary technology of Imax, so I fail to see what ILM has to do with anything. Unless you're referring to the new/deleted content.

I've even witnessed "arrhythmia" with the one of the current Digital Cinema formats too (see the thread on "Digital Hiccups" when I saw "Ice Age" at the AMC Empire 25 in NYC last March).

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John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Research Labs, Building 69, Room 7525A
Rochester, New York, 14650-1922 USA
Tel: +1 585 477 5325 Cell: +1 585 781 4036 Fax: +1 585 722 7243
e-mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion

Signs in DLP had more negative dirt than my 35mm prints.

Here's a flow diagram to show the likely process:
http://www.kodak.com/US/en/motion/digital/mastering.shtml

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John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Research Labs, Building 69, Room 7525A
Rochester, New York, 14650-1922 USA
Tel: +1 585 477 5325 Cell: +1 585 781 4036 Fax: +1 585 722 7243
e-mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion

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resolution tweaking on the video source

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Conservatively taking 50 cycles per millimetre as a measure of film's sharpness (it's usually greater), that translates to the equivalent of 6960 x 4859 pixels on the 2.74 x 1.913 inch (69.60 x 48.59 mm) projectable area of the IMAX film print. Other origination formats don't even come close!

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John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Research Labs, Building 69, Room 7525A
Rochester, New York, 14650-1922 USA
Tel: +1 585 477 5325 Cell: +1 585 781 4036 Fax: +1 585 722 7243
e-mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion

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"When 'The Lion King' was made 10 years ago, it was drawn by hand but was archived digitally--so all 1300 or 1400 scenes are stored in such a way that we can actually increase the resolution and then reprint it on large-format, 15 perforation IMAX film with great resolution and pristine color. And or course we went through and looked at 80 or 90 different shots in the movie, where when we blew them up to the big screen [we saw] MAYBE CHARACTERS DIDN'T HAVE FACES (emphasis added), or there were some anomalies or color problems or things. In those cases, we went back in and corrected, fine tuned, touched up and changed little details......."

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They are using the same process for Lion King that they used for Beauty and the Beast -- when they archived the films as data files, they did so in such a way as to be able to up-rez it easily. The same concept as using vector imaging instead of pixels.

Someone else can probably explain this much better than I can, but I'm gonna try anyway. A very over-simplified explanation with many details skipped ...

If you've used Adobe Illustrator, you've used vector graphics. In a vector image, things such as lines are not stored as a series of pixels, but as a concept ... for example, a curved line is not a series of neighboring pixels, but a rendering of just a few points along the line and how they relate to each other.

So say your source material has a line with end points A and B that are X inches apart with point C in between (but not in line) Y inches from point A and Z inches from point B. There is an algorithm (or whatever) that can draw the curved line of A-C-B.

Take that same algorithm (or whatever) and take points A and B, placing them X feet apart and it can recalculate where point C should be based on values Y and Z and then re-draw the curved line of A-C-B on a larger scale.

You can see how this would work really well with animated material.

And now Bobby or Evans can un-confuse everybody.