speaker-0: Good morning, you're on Bay FM and it's Monday, July the 20th. Well the Soccer World Cup is finally over, and I hope your team won. But in even bigger news, Christopher Nolan's epic film The Odyssey is finally here. On the show today, we're going to talk about cameras, IMAX of course, but also VistaVision. Here with Guntus, and this is behind the screens. Behind the screen. Can see. We cut the scenes of the story that greets you We stitch the Are cameras and actors
speaker-1: be there with the plots with the Connect the
speaker-0: Edit multiple factors from dawn until dark, so you can enjoy the narrative arc. Every tear you shed, every shock you feel, all the blood that's spilled, that's why it feels so real. You can love all
speaker-1: We all belong hate it. You can cry or scream. ⁓
speaker-0: But you can't deny a dream. Two years ago.
speaker-2: And me.
speaker-1: What if I can't?
speaker-0: Well, that's the trailer for the Odyssey, Christopher Nolan's latest epic starring Matt Damon. Like many people, I was amazed that it had all been shot with an IMAX camera. If you've ever seen one, you'll realize that these cameras are huge and unwieldy, hardly the things you want to be dragging around on wild beaches, deserts, and mountains. And yet that's what they did. All in the pursuit of the ultimate pictures. Apparently it has three times more resolution than any digital format. So as the cinematographer says, it cannot lie. Here are some of the people involved talking about using this massive beast of a camera.
speaker-2: You were
speaker-0: The Odyssey is definitely the biggest movie that I've ever done in my career. It's like making a movie the way we would have made it a hundred years ago, except for the fact that it's on IMAX.
speaker-2: This is definitely the wants to be seen in and that has always been our
speaker-0: First choice Chris and Hoyter never ceased to surprise me.
speaker-2: If there's one thing they're gonna do, it's innovate and find new to create and do things that quite literally have never been done before.
speaker-1: ways.
speaker-0: Me has been my long-held dream. I mean really since I was about 16 years old to do an entire film on IMAX. The thing that was stopping us was always the sound. My first time working on IMAX was with Chris and I remember thinking I'm thinking like, is that what it's gonna sound like like when we shoot our scenes? Like that's really distracting. And then they bought the blimp.
speaker-2: It's laugh.
speaker-0: We had gone to IMAX and sort of challenged them to create new cameras that were quiet or at the very least create a blimp that would b noise of the camera. They came back to us with new cameras plus a blimp. ⁓
speaker-1: to
speaker-2: Gigantic super heavy box. But we're supposed to be comfortable. We're supposed to present the audience with the best experience. So all our effort was all in service of making that work.
speaker-0: We as filmmakers we are not. Possible. Well The people that we were working with are so adept resourceful. They figured out how to do it. Creating a mirror system so that the actors see each other around the camera. It feels like you're shooting a scene with like a SUV. Even with the size of the camera would move slower and it just moves f than shooting it on an iPhone.
speaker-1: to bull.
speaker-2: The camera you just feel like the machine If you a s
speaker-1: BASTARD!
speaker-0: I share sort of will and with it and ⁓ in boats and every
speaker-2: Excitement before we knew it we were up on cliffs. And every day of the shoot it became easier for us to work with.
speaker-0: And so for the first time ever we've been able to do the entire film on the incredible IMAX film format. It's a long held dream finally ⁓ coming to fruition. ⁓ really shoots on this massive scale, on this massive format, but you basically sh films and
speaker-2: There's a lot of urgency to that.
speaker-0: He goes the extra distance to make it feel authentic for us on set. And I think the IMAX is gonna really allow the audience to feel like they are a part of this journey with us. You're really gonna be immersed in this world.
speaker-2: fan, I'm so excited to see this film. Like I cannot wait to sit in that theater and
speaker-0: to and completely be lost in this created. I would say this movie is in your lifetime, if there is one movie that you go to the cinema, no matter what, this is the movie to do because this is pure cinema.
speaker-2: world that he's created.
speaker-0: I'll certainly be lining up for that one. If only to marvel at the cinematography. Hopefully it's a good film as well. You're on by FM ninety nine point nine and this is behind the screens with Guntus. Time for a song. Mama Told Me Not to Come.
speaker-2: Yeah.
speaker-0: Yeah, but
speaker-1: Man.
speaker-0: Steal. Randy Newman with advice from his mother. So look filmmakers have always used a wide variety of cameras, and after 9 30 you'll hear about VistaVision, a format being used by directors like Paul Thomas Anderson. But first a little more history of the IMAX format.
speaker-2: With the release of Christopher Nolan's adaptation of the Odyssey, there's already a lot of buzz surrounding it. But a huge part of that conversation has less to do with the story and more to do with how the movie was made. Because he wants to do it all in camera. Nolan's once again working with IMAX Film, a format that's been tied to his career for nearly two decades. But the idea of projecting a massive image onto a five story screen isn't new. IMAX has been around for a long time. So what makes this movie different and why does this format still create so much conversation around the way movies are made? Most would do this on a computer. In this case, he wanted to do it 100% in IMAX, which had never been done. In order to answer that, we have to go back 59 years.
speaker-1: any other film.
speaker-0: Computer to do.
speaker-2: The year is nineteen sixty seven. The place is Montreal, Quebec, Canada. The event is the International and Universal Exposition, better known as Expo sixty seven. A cinema verace filmmaker named Roman Croyter and a director named Graham Ferguson were working on opposite sides of the fair, both presenting films that were trying to push cinema beyond the limits of a normal theater screen. Croyder was a part of In the Labyrinth, a huge multi screen national film board project. Built for the Labyrinth Pavilion. Ferguson directed Polar Life, a large format presentation built around synchronized projection and a rotating audience platform.
speaker-1: you
speaker-0: brother in law, Roman Kreider, had already
speaker-1: conceived and was working with this college and had not
speaker-0: And ⁓ it's been an easy it wasn't easy to shoot it and it wasn't easy to project it. We had eleven projectors
speaker-1: to breathe.
speaker-2: Both projects were feats of the time, but both ran into similar problems. If a projector failed, if one image drifted out of alignment, or if the timing slipped, the entire presentation was affected. The work required to keep everything operating made the projects difficult to scale beyond a custom-built World's Fair pavilion.
speaker-1: reproduce.
speaker-2: Croeder and Ferguson teamed up with Robert Kerr and William Bill Shaw to find a solution to the problems that came out of those presentations. They formed a company called the Multi-Screen Corporation. And that name says a lot about where their thinking began. They were coming out of the world of multi-screen exposition, but pretty quickly into their experiments after Expo 67, they realized they were approaching the problem from the wrong angle. There were too many parts to make their initial idea work.
speaker-0: Take Labyrinth to Vancouver or Toronto or even Quebec City.
speaker-1: and show it to anybody because you had to take the whole ready
speaker-2: So their efforts shifted away from the multi screen approach and toward the development of one large format image. ⁓
speaker-0: Hold Weird.
speaker-1: They said, we could do what we wanted to do. It would be useful to all of these.
speaker-2: We have
speaker-0: To filmmakers.
speaker-2: The company eventually changed its name to IMAX, meaning maximum image. And that was no easy task, which fell to Bill Shaw, who developed the IMAX rolling loop projection system. 70mm film already existed. His job was to make the IMAX version of it function as a working projection system. Conventional projectors were built around much smaller frame movements. A standard 35mm frame usually moves vertically through a camera or projector. With each frame taking up four perforations of film. Those perforations are the small sprocket holes along the edge of the strip that help the mechanism move and register the image. Standard 70mm presentation is larger than 35mm, but it also usually runs vertically, with each frame taking up five perforations. Instead of running the film vertically, IMAX runs 70mm film horizontally. Each frame stretches across 15 perforations. That gives each frame a much larger area, but that larger frame created a serious engineering problem. The projector had to move a bigger piece of film and repeat that process twenty-four times per second without damaging the print or creating image instability. Shaw's rolling loop system allowed that larger frame to move through the projector in a controlled way. The four men worked for years developing this process, until the nineteen seventy Japan World Exposition held. In Osaka. Inside the Fuji Group Pavilion, the first IMAX film debuted for the public. It was called Tiger Child. This wasn't a conventional feature film. Audiences entered a custom exposition space and viewed the film from a moving platform. The system that had been developed after Expo 67 was now operating in front of a public audience, using a single, large format image instead of several synchronized projectors. And over the six month run of Expo seventy, the system reportedly only went down for one day. After years of working through the technical problems that came out of nineteen sixty-seven, the four men had created a working large format projection system.
speaker-0: version of the story is we did it in
speaker-2: From there, IMAX started moving beyond the World's Fair. In 1971, Cinesphere opened at Ontario Place in Toronto. It became the first permanent IMAX theater, which moved the format outside temporary exposition. In 1973, the first IMAX dome opened in San Diego at the Reuben H. Fleet Science Center. That pushed the format into a curved dome environment mostly for educational films and science programming. At Expo 74 in Spokane, IMAX appeared again in a world exposition setting. With one of its largest screens to date. In 1976, Two Fly debuted at the Smithsonian National Air and Space Museum. The film was shot in IMAX and chronicled a brief history of aviation. It became one of the defining early IMAX Museum films. Then in 1985, IMAX, NASA, Lockheed Martin, and the National Air and Space Museum released The Dream Is Alive. The film used footage captured during three space shuttle missions in 1984, making it the first large format film.
speaker-1: you
speaker-2: Shot in space. At the 1986 World Exposition in Vancouver, Transitions became a major IMAX 3D milestone. Then in 1995, Wings of Courage marked another step. It was the first dramatic film shot in IMAX. It was still short compared to a normal feature, but it moved IMAX into narrative filmmaking. Fantasia 2000 became the first full-length animated feature released in IMAX. In 2002, Ron Howard's Apollo 13 marked another historic moment. It became the first 35mm live-action feature to be digitally remastered into IMAX's format through the company's DMR process. In 2007, IMAX announced the target launch of its digital projection system, which made the brand easier to expand into more theaters. Which brings us to 2008, where an ambitious filmmaker became the first of his kind to use IMAX cameras inside a major Hollywood feature. That filmmaker was Christopher Nolan, and that movie was was the Dark Knight. It included six sequences shot with IMAX cameras, totaling roughly 28 minutes in the finished film. Nolan continued to expand his use of the format after the success of his Batman sequel. The third installment of the trilogy, The Dark Knight Rises, used a little over 70 minutes of IMAX footage in the final cut. Then in Interstellar, he went back to the format again, using more than an hour of IMAX footage for space, aircraft, and the landscapes. Dunkirk continued that progression, but on an even larger scale, roughly 70% of the film was captured with 15 perf IMAX cameras. Tenet continued the mixed large format approach using IMAX film cameras alongside 5perf 65mm for large scale practical action. Then we come to 2023. And Oppenheimer. Oppenheimer was a very different kind of movie. It was shot on a combination of IMAX 65. and 5 perf 65mm large format film. Also introduced a new technical step. Kodak manufactured 65mm black and white film for use in the IMAX workflow. But Oppenheimer also showed why shooting an entire dramatic feature on IMAX had remained difficult for so long. Because you know these lenses are f this close and it wakes you up. The movement of the film through the camera created noise, and a lot of it.
speaker-1: Coming at ya in there
speaker-0: The cameras are very, very loud, very difficult to act in front of and very difficult to record dialogue.
speaker-2: Especially in a movie primarily based around people talking. Only a portion of Oppenheimer was captured on IMAX because of those practical problems that came along with the format. Well, how can we get this medium to work also as a very intimate medium? Every one of those aforementioned films still used IMAX as a part of a mixed large format process. And this is where the Odyssey comes back into the story. For the first time, a theatrical feature is being shot entirely in IMAX.
speaker-0: Long held dream finally ⁓ coming to fruition. So we went to IMAX and we said is there a way? Can you make them quieter?
speaker-2: IMAX developed new 65mm cameras that are lighter and quieter than previous models. The production also used a large sound-reducing camera housing, sometimes referred to as a blimp, to make dialogue recording possible, and a mirror system was also developed to help solve eyeline issues when the camera needed to be placed closer to actors. I did a scene
speaker-0: John Burnt or the whole thing on the mirror and it made me forget that the camera was there.
speaker-2: Nearly 60 years after Expo 67, the format has moved from World's Fair to museums, to science centers, to NASA missions, to 3D systems, to Hollywood remastering, to digital projection, to major feature film production. The same format that began as a way to solve multi-screen projection problems in the late 60s is now being used across an entire dramatic feature. And it's widely Because of one man's love of the format and his ambition to keep modern filmmaking a distinctly human process.
speaker-0: It's a really marvelous thing to see, yeah, in this age of digitization, AI, all the rest. It's this is a a human process, an analogue process. I ⁓ first experienced the format of the museum of science and industry in Chicago and at the Great America theme park in Chicago as well. But I was fascinated by you know why wouldn't Hollywood engage with that kind of technology, that kind of immersive level of storytelling. Yes of course it helps to have quarter of a billion dollars to play with when you want to use those types of cameras. We've been talking about IMAX next after this song. VistaVision. What is VistaVision? And why would anybody use it? You're on behind the screens, this is Bay Fm 99.9 and my name is Guntus.
speaker-1: Please, trail in the rain, roaming the seas, like the birds that sing in the trees, Pleasing to live, living to please, the sky is the only roof I have over my head.
speaker-0: Ready?
speaker-1: And when I'm weary, Mother Nature makes me a bed. I'm just going along as I please, Breezing along with a breeze. I'm breezing along with a breeze. I have been a robber since I was a child. No one to love or care for me No one to love or care for Knock around all over Behind a crew of wild My home's wherever I may be I'm just freezing the... The sky is the only roof I have ⁓
speaker-0: Who did
speaker-1: And when I'm weary, Mother Nature makes me a bed. I'm just going along as I please. Breeze along with the breeze, the breeze.
speaker-1: be there with the plots with the Connect the
speaker-0: Edit multiple factors from dawn until dark, so you can enjoy the narrative arc. Every tear you shed, every shock you feel, all the blood that's spilled, that's why it feels so real. You can love all
speaker-1: We all belong hate it. You can cry or scream. ⁓
speaker-0: But you can't deny a dream. Two years ago.
speaker-2: And me.
speaker-1: What if I can't?
speaker-0: Well, that's the trailer for the Odyssey, Christopher Nolan's latest epic starring Matt Damon. Like many people, I was amazed that it had all been shot with an IMAX camera. If you've ever seen one, you'll realize that these cameras are huge and unwieldy, hardly the things you want to be dragging around on wild beaches, deserts, and mountains. And yet that's what they did. All in the pursuit of the ultimate pictures. Apparently it has three times more resolution than any digital format. So as the cinematographer says, it cannot lie. Here are some of the people involved talking about using this massive beast of a camera.
speaker-2: You were
speaker-0: The Odyssey is definitely the biggest movie that I've ever done in my career. It's like making a movie the way we would have made it a hundred years ago, except for the fact that it's on IMAX.
speaker-2: This is definitely the wants to be seen in and that has always been our
speaker-0: First choice Chris and Hoyter never ceased to surprise me.
speaker-2: If there's one thing they're gonna do, it's innovate and find new to create and do things that quite literally have never been done before.
speaker-1: ways.
speaker-0: Me has been my long-held dream. I mean really since I was about 16 years old to do an entire film on IMAX. The thing that was stopping us was always the sound. My first time working on IMAX was with Chris and I remember thinking I'm thinking like, is that what it's gonna sound like like when we shoot our scenes? Like that's really distracting. And then they bought the blimp.
speaker-2: It's laugh.
speaker-0: We had gone to IMAX and sort of challenged them to create new cameras that were quiet or at the very least create a blimp that would b noise of the camera. They came back to us with new cameras plus a blimp. ⁓
speaker-1: to
speaker-2: Gigantic super heavy box. But we're supposed to be comfortable. We're supposed to present the audience with the best experience. So all our effort was all in service of making that work.
speaker-0: We as filmmakers we are not. Possible. Well The people that we were working with are so adept resourceful. They figured out how to do it. Creating a mirror system so that the actors see each other around the camera. It feels like you're shooting a scene with like a SUV. Even with the size of the camera would move slower and it just moves f than shooting it on an iPhone.
speaker-1: to bull.
speaker-2: The camera you just feel like the machine If you a s
speaker-1: BASTARD!
speaker-0: I share sort of will and with it and ⁓ in boats and every
speaker-2: Excitement before we knew it we were up on cliffs. And every day of the shoot it became easier for us to work with.
speaker-0: And so for the first time ever we've been able to do the entire film on the incredible IMAX film format. It's a long held dream finally ⁓ coming to fruition. ⁓ really shoots on this massive scale, on this massive format, but you basically sh films and
speaker-2: There's a lot of urgency to that.
speaker-0: He goes the extra distance to make it feel authentic for us on set. And I think the IMAX is gonna really allow the audience to feel like they are a part of this journey with us. You're really gonna be immersed in this world.
speaker-2: fan, I'm so excited to see this film. Like I cannot wait to sit in that theater and
speaker-0: to and completely be lost in this created. I would say this movie is in your lifetime, if there is one movie that you go to the cinema, no matter what, this is the movie to do because this is pure cinema.
speaker-2: world that he's created.
speaker-0: I'll certainly be lining up for that one. If only to marvel at the cinematography. Hopefully it's a good film as well. You're on by FM ninety nine point nine and this is behind the screens with Guntus. Time for a song. Mama Told Me Not to Come.
speaker-2: Yeah.
speaker-0: Yeah, but
speaker-1: Man.
speaker-0: Steal. Randy Newman with advice from his mother. So look filmmakers have always used a wide variety of cameras, and after 9 30 you'll hear about VistaVision, a format being used by directors like Paul Thomas Anderson. But first a little more history of the IMAX format.
speaker-2: With the release of Christopher Nolan's adaptation of the Odyssey, there's already a lot of buzz surrounding it. But a huge part of that conversation has less to do with the story and more to do with how the movie was made. Because he wants to do it all in camera. Nolan's once again working with IMAX Film, a format that's been tied to his career for nearly two decades. But the idea of projecting a massive image onto a five story screen isn't new. IMAX has been around for a long time. So what makes this movie different and why does this format still create so much conversation around the way movies are made? Most would do this on a computer. In this case, he wanted to do it 100% in IMAX, which had never been done. In order to answer that, we have to go back 59 years.
speaker-1: any other film.
speaker-0: Computer to do.
speaker-2: The year is nineteen sixty seven. The place is Montreal, Quebec, Canada. The event is the International and Universal Exposition, better known as Expo sixty seven. A cinema verace filmmaker named Roman Croyter and a director named Graham Ferguson were working on opposite sides of the fair, both presenting films that were trying to push cinema beyond the limits of a normal theater screen. Croyder was a part of In the Labyrinth, a huge multi screen national film board project. Built for the Labyrinth Pavilion. Ferguson directed Polar Life, a large format presentation built around synchronized projection and a rotating audience platform.
speaker-1: you
speaker-0: brother in law, Roman Kreider, had already
speaker-1: conceived and was working with this college and had not
speaker-0: And ⁓ it's been an easy it wasn't easy to shoot it and it wasn't easy to project it. We had eleven projectors
speaker-1: to breathe.
speaker-2: Both projects were feats of the time, but both ran into similar problems. If a projector failed, if one image drifted out of alignment, or if the timing slipped, the entire presentation was affected. The work required to keep everything operating made the projects difficult to scale beyond a custom-built World's Fair pavilion.
speaker-1: reproduce.
speaker-2: Croeder and Ferguson teamed up with Robert Kerr and William Bill Shaw to find a solution to the problems that came out of those presentations. They formed a company called the Multi-Screen Corporation. And that name says a lot about where their thinking began. They were coming out of the world of multi-screen exposition, but pretty quickly into their experiments after Expo 67, they realized they were approaching the problem from the wrong angle. There were too many parts to make their initial idea work.
speaker-0: Take Labyrinth to Vancouver or Toronto or even Quebec City.
speaker-1: and show it to anybody because you had to take the whole ready
speaker-2: So their efforts shifted away from the multi screen approach and toward the development of one large format image. ⁓
speaker-0: Hold Weird.
speaker-1: They said, we could do what we wanted to do. It would be useful to all of these.
speaker-2: We have
speaker-0: To filmmakers.
speaker-2: The company eventually changed its name to IMAX, meaning maximum image. And that was no easy task, which fell to Bill Shaw, who developed the IMAX rolling loop projection system. 70mm film already existed. His job was to make the IMAX version of it function as a working projection system. Conventional projectors were built around much smaller frame movements. A standard 35mm frame usually moves vertically through a camera or projector. With each frame taking up four perforations of film. Those perforations are the small sprocket holes along the edge of the strip that help the mechanism move and register the image. Standard 70mm presentation is larger than 35mm, but it also usually runs vertically, with each frame taking up five perforations. Instead of running the film vertically, IMAX runs 70mm film horizontally. Each frame stretches across 15 perforations. That gives each frame a much larger area, but that larger frame created a serious engineering problem. The projector had to move a bigger piece of film and repeat that process twenty-four times per second without damaging the print or creating image instability. Shaw's rolling loop system allowed that larger frame to move through the projector in a controlled way. The four men worked for years developing this process, until the nineteen seventy Japan World Exposition held. In Osaka. Inside the Fuji Group Pavilion, the first IMAX film debuted for the public. It was called Tiger Child. This wasn't a conventional feature film. Audiences entered a custom exposition space and viewed the film from a moving platform. The system that had been developed after Expo 67 was now operating in front of a public audience, using a single, large format image instead of several synchronized projectors. And over the six month run of Expo seventy, the system reportedly only went down for one day. After years of working through the technical problems that came out of nineteen sixty-seven, the four men had created a working large format projection system.
speaker-0: version of the story is we did it in
speaker-2: From there, IMAX started moving beyond the World's Fair. In 1971, Cinesphere opened at Ontario Place in Toronto. It became the first permanent IMAX theater, which moved the format outside temporary exposition. In 1973, the first IMAX dome opened in San Diego at the Reuben H. Fleet Science Center. That pushed the format into a curved dome environment mostly for educational films and science programming. At Expo 74 in Spokane, IMAX appeared again in a world exposition setting. With one of its largest screens to date. In 1976, Two Fly debuted at the Smithsonian National Air and Space Museum. The film was shot in IMAX and chronicled a brief history of aviation. It became one of the defining early IMAX Museum films. Then in 1985, IMAX, NASA, Lockheed Martin, and the National Air and Space Museum released The Dream Is Alive. The film used footage captured during three space shuttle missions in 1984, making it the first large format film.
speaker-1: you
speaker-2: Shot in space. At the 1986 World Exposition in Vancouver, Transitions became a major IMAX 3D milestone. Then in 1995, Wings of Courage marked another step. It was the first dramatic film shot in IMAX. It was still short compared to a normal feature, but it moved IMAX into narrative filmmaking. Fantasia 2000 became the first full-length animated feature released in IMAX. In 2002, Ron Howard's Apollo 13 marked another historic moment. It became the first 35mm live-action feature to be digitally remastered into IMAX's format through the company's DMR process. In 2007, IMAX announced the target launch of its digital projection system, which made the brand easier to expand into more theaters. Which brings us to 2008, where an ambitious filmmaker became the first of his kind to use IMAX cameras inside a major Hollywood feature. That filmmaker was Christopher Nolan, and that movie was was the Dark Knight. It included six sequences shot with IMAX cameras, totaling roughly 28 minutes in the finished film. Nolan continued to expand his use of the format after the success of his Batman sequel. The third installment of the trilogy, The Dark Knight Rises, used a little over 70 minutes of IMAX footage in the final cut. Then in Interstellar, he went back to the format again, using more than an hour of IMAX footage for space, aircraft, and the landscapes. Dunkirk continued that progression, but on an even larger scale, roughly 70% of the film was captured with 15 perf IMAX cameras. Tenet continued the mixed large format approach using IMAX film cameras alongside 5perf 65mm for large scale practical action. Then we come to 2023. And Oppenheimer. Oppenheimer was a very different kind of movie. It was shot on a combination of IMAX 65. and 5 perf 65mm large format film. Also introduced a new technical step. Kodak manufactured 65mm black and white film for use in the IMAX workflow. But Oppenheimer also showed why shooting an entire dramatic feature on IMAX had remained difficult for so long. Because you know these lenses are f this close and it wakes you up. The movement of the film through the camera created noise, and a lot of it.
speaker-1: Coming at ya in there
speaker-0: The cameras are very, very loud, very difficult to act in front of and very difficult to record dialogue.
speaker-2: Especially in a movie primarily based around people talking. Only a portion of Oppenheimer was captured on IMAX because of those practical problems that came along with the format. Well, how can we get this medium to work also as a very intimate medium? Every one of those aforementioned films still used IMAX as a part of a mixed large format process. And this is where the Odyssey comes back into the story. For the first time, a theatrical feature is being shot entirely in IMAX.
speaker-0: Long held dream finally ⁓ coming to fruition. So we went to IMAX and we said is there a way? Can you make them quieter?
speaker-2: IMAX developed new 65mm cameras that are lighter and quieter than previous models. The production also used a large sound-reducing camera housing, sometimes referred to as a blimp, to make dialogue recording possible, and a mirror system was also developed to help solve eyeline issues when the camera needed to be placed closer to actors. I did a scene
speaker-0: John Burnt or the whole thing on the mirror and it made me forget that the camera was there.
speaker-2: Nearly 60 years after Expo 67, the format has moved from World's Fair to museums, to science centers, to NASA missions, to 3D systems, to Hollywood remastering, to digital projection, to major feature film production. The same format that began as a way to solve multi-screen projection problems in the late 60s is now being used across an entire dramatic feature. And it's widely Because of one man's love of the format and his ambition to keep modern filmmaking a distinctly human process.
speaker-0: It's a really marvelous thing to see, yeah, in this age of digitization, AI, all the rest. It's this is a a human process, an analogue process. I ⁓ first experienced the format of the museum of science and industry in Chicago and at the Great America theme park in Chicago as well. But I was fascinated by you know why wouldn't Hollywood engage with that kind of technology, that kind of immersive level of storytelling. Yes of course it helps to have quarter of a billion dollars to play with when you want to use those types of cameras. We've been talking about IMAX next after this song. VistaVision. What is VistaVision? And why would anybody use it? You're on behind the screens, this is Bay Fm 99.9 and my name is Guntus.
speaker-1: Please, trail in the rain, roaming the seas, like the birds that sing in the trees, Pleasing to live, living to please, the sky is the only roof I have over my head.
speaker-0: Ready?
speaker-1: And when I'm weary, Mother Nature makes me a bed. I'm just going along as I please, Breezing along with a breeze. I'm breezing along with a breeze. I have been a robber since I was a child. No one to love or care for me No one to love or care for Knock around all over Behind a crew of wild My home's wherever I may be I'm just freezing the... The sky is the only roof I have ⁓
speaker-0: Who did
speaker-1: And when I'm weary, Mother Nature makes me a bed. I'm just going along as I please. Breeze along with the breeze, the breeze.
