In the practical and ideological struggle between the “old world” of photochemical and the “new world” of digital finishes, it’s easy to forget that both have co-existed for many decades and, no doubt, will continue to do so until the last processing lab shutters its doors and the last film projector is put to rest.
Access to the last 90 days of content is always free. Paid subscribers can access older stories as part of their membership.
Cinematographer Wally Pfister (left) and director Christopher Nolan (right) with the IMAX camera on location in Hong Kong for Warner Bros. Pictures' and Legendary Pictures' action drama The Dark Knight, distributed by Warner Bros. Pictures.
Comments (2)
1.
As a big IMAX fan but a (very interested) film technology, 'novice' thanks for a first class enlightening article.
Posted by Steve Harford on Wednesday, July 16, 2008 @ 09:58 AM
2.
Thanks Debra, the post trajectory was exactly what I was wondering about. Now to make things even more interesting, how are the IMAX theaters that were built to (almost) solely show IMAXed Hollywood content (like my local Pathé IMAX in Amsterdam) with a screen that has a 2:1 aspect ratio going to show this? The top and bottom of the 1.33 frame will surely be cut off! So now I need to go to Belgium to see the IMAX version the proper - and probably most impressive way!
Posted by Roloff on Friday, July 18, 2008 @ 11:19 AM
Post your comments below
.gif)
