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Author Topic: The Dark Knight - Parts of movie to be filmed in IMAX Bob Brown Expert Film Handler Posts: 146 From: Grand Rapids, MI Registered: Apr 2002 posted 01-05-2008 06:57 PM                        Yes, We are showing the six minute "teaser" All I can say is WICKED!!  |  IP: Logged Mark J. Marshall Film God Posts: 3188 From: New Castle, DE, USA Registered: Aug 2002 posted 06-27-2008 12:52 PM                    Have the digital imax installations begun yet? What does that mean for them with this particular title?  |  IP: Logged Dick Vaughan Phenomenal Film Handler Posts: 1032 From: Bradford, West Yorkshire, UK Registered: Jul 2000 posted 06-27-2008 01:39 PM                        Digital installations in the DC area are due to start around now . However The Dark Knight :The IMAX Experience will not be screened on any of them. Christopher Nolan, after going to the trouble of filming sections of the movie on IMAX 15 perf /65mm negative ,refuses to have his movie shown this way. There are rumours from a well placed source that an upcoming 3D feature will also be filmed in IMAX. Oh and by the way The Dark Knight in IMAX is earth shatteringly, mind bendingly ,intensely awesome even when viewed on a MPX system  |  IP: Logged Mark J. Marshall Film God Posts: 3188 From: New Castle, DE, USA Registered: Aug 2002 posted 06-28-2008 10:59 AM                    Any word on how this movie (the IMAX shot scenes in particular) was edited?  |  IP: Logged Sean Weitzel Jedi Master Film Handler Posts: 619 From: Vacaville, CA (1790 miles west of Rockwall) Registered: Dec 1999 posted 06-29-2008 01:43 AM                     Pick up a copy of this month's "American Cinematographer" for the full scoop. The gist of it, Nolan shot the scenes in 15/70 as previously stated. Since the IMAX release prints will contain 35mm anamorphic DMR'ed, all of the 15/70 negative was scanned at 8k and the 35mm scanned at 4k. The IMAX prints will have the IMAX scenes 1.33 while the remainer will be "letterboxed" 2:40 35mm anamorphic source. The transitions will be "hard cuts". overall, about 30 minutes of material out of the final cut is 15/70. For conventional 35mm release prints, the IMAX segments had a 2:40 frame extracted from the 1.33 IMAX frame. The DP went on record with a few comments: Notably, (paraphrasing) "in the 35mm release prints, the imax segments had visably more detail..." Geez, might as well shot 5/65. Seriously, what is keeping these people from shooting 5/65???  |  IP: Logged Mark J. Marshall Film God Posts: 3188 From: New Castle, DE, USA Registered: Aug 2002 posted 06-29-2008 08:01 AM                    quote: Sean Weitzel "in the 35mm release prints, the imax segments had visably more detail..." No shit. quote: Sean Weitzel Geez, might as well shot 5/65. Seriously, what is keeping these people from shooting 5/65??? An excellent question. I'm wondering what's keeping them from RELEASING a few 5/70 prints of this title? Thanks for the tip, Sean. I will look for American Cinematographer.  |  IP: Logged Bobby Henderson "Ask me about Trajan." Posts: 10973 From: Lawton, OK, USA Registered: Apr 2001 posted 06-29-2008 11:28 AM                     Too many people in the movie industry are eaten up with that "digital" word rather than truthfully looking at what really delivers the best image quality at various stages of production. Motion picture film cameras still deliver better image quality than any video camera. And large format, be it 8/35, 5/65 or 15/65, is superior to 4/35. The sad thing is a lot of "digital" equipped theaters would see improved image quality with movies shot in large format and scanned at high resolutions (like 6K, 8K) before being down-sampled to formats like 2K and 4K. The movies would even look better on Blu-ray.  |  IP: Logged Paul Linfesty Phenomenal Film Handler Posts: 1383 From: Bakersfield, CA, USA Registered: Nov 1999 posted 06-29-2008 05:23 PM                     Am I missing something here? If the 35mm negative is scanned in at 4K, then shouldn't the IMAX shot footage be scanned at something like 40K?  |  IP: Logged Mike Schindler Phenomenal Film Handler Posts: 1039 From: Oak Park, IL, USA Registered: Jun 2002 posted 06-29-2008 05:47 PM                     Since it was shot in Chicago, I have a number of friends who worked on the movie in some form or another. I asked one of them why they didn't just shoot the whole thing in Imax. He speculated that it would have been much more costly, not just because of cameras and filmstock, but from a production design standpoint as well. Since Imax has such more detail than 35mm, it's much less forgiving of (comparitively speaking) cheaply-made sets and costumes.  |  IP: Logged Carl Martin Phenomenal Film Handler Posts: 1424 From: Oakland, CA, USA Registered: Feb 2002 posted 06-30-2008 12:06 AM                        quote: Paul Linfesty shouldn't the IMAX shot footage be scanned at something like 40K? it shouldn't be scanned at all!  |  IP: Logged Lyle Romer Phenomenal Film Handler Posts: 1400 From: Davie, FL, USA Registered: May 2002 posted 06-30-2008 07:35 AM                     The 4k etc refers to the resolution of the image width, not the total resolution. IMAX is not 10x the width of 35mm. For the equivalent detail, IMAX should probably be scanned at 16k or so. I'm not sure if there are scanners that can do that resolution.  |  IP: Logged Jeffry L. Johnson Jedi Master Film Handler Posts: 809 From: Cleveland, Ohio, USA Registered: Apr 2000 posted 06-30-2008 11:04 AM                        The 2008 March "LF Examiner" Digital Cinema 101 issue states the 15/70 frame is theoretically equivalent to a 16K digital image, 16,000 x 12,000 (190 million) pixels.  |  IP: Logged Mark J. Marshall Film God Posts: 3188 From: New Castle, DE, USA Registered: Aug 2002 posted 06-30-2008 12:04 PM                    The midnight premier at UA IMAX King of Prussia, PA is sold out already. They added a 3:10 am show. A couple of the weekend shows are already sold out too. Nice. Should be some booooomin business!  |  IP: Logged Ron Lacheur Jedi Master Film Handler Posts: 650 From: British Columbia, Canada Registered: Feb 2002 posted 06-30-2008 02:20 PM                     Shooting large format presents a number of challenges, including recording production sound. While cameras like the Arri 765 are designed for sync sound, IMAX cameras are not, and most likely all the IMAX scenes will be looped due to the sheer noise of the camera.  |  IP: Logged Brian Michael Weidemann Expert cat molester Posts: 944 From: Costa Mesa, CA United States Registered: Feb 2004 posted 06-30-2008 03:41 PM                        According to a great article in the current issue of Wired magazine, any and all looping necessary (for this production anyway) is still done while on set, not months later in a studio. Nolan reported how important it is to have the set ambient sounds, and the actors still in character. I'm sure it's easy if you have a second video camera just getting the takes they can play back. You can't really loop the IMAX dailies in as timely a manner, I would imagine.  |  IP: Logged

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