IMAX

IMAX

noun | Camera & Optics

A proprietary large-format film and projection system developed by IMAX Corporation that produces images far larger, sharper, and more immersive than standard 35mm cinema. Original IMAX uses 70mm film running horizontally through the camera at 15 perforations per frame, producing a frame area approximately 10 times larger than standard 35mm. IMAX theatres use specially designed screens up to 40m wide and precision projection systems to deliver an enveloping visual experience.

Quick Reference

The Explanation: How & Why

IMAX works on a simple physical principle: the larger the film frame, the more information it captures, and the larger that image can be projected before grain or softness becomes visible. Standard 35mm film has a frame area of roughly 22mm x 16mm. When enlarged to fill a 10-meter cinema screen, the image shows visible grain and loses sharpness. A 15/70 IMAX frame at roughly 70mm x 52mm captures nearly 10 times more image data, allowing projection onto screens many times larger while retaining detail that standard film cannot match.

The 15/70 format runs film horizontally through the camera and projector at 15 perforations per frame, unlike conventional 70mm which runs vertically at 5 perforations. The frame is near-square, producing an aspect ratio of 1.43:1. This fills a floor-to-ceiling IMAX screen in a way no widescreen format can. The physical demands are extreme: one hour of 15/70 film weighs approximately 136 kg (300 lb), and a 3-hour feature reel weighs roughly 272 kg (600 lb). The film travels 9 meters (30 feet) up to a ceiling-mounted platter, through the projector gate, and back down at 103 meters (337 feet) per minute, more than 3 times the speed of standard 35mm projection.

IMAX with Laser is the current digital exhibition standard, using dual 4K laser projectors with custom optical engines. These systems deliver brighter images, deeper contrast, and wider color gamut than traditional xenon digital projection. Most IMAX with Laser venues display at 1.90:1, with select locations capable of expanding to the full 1.43:1 ratio for content shot on IMAX film. IMAX's proprietary DMR (Digital Re-Mastering) process upconverts standard-resolution films for large-format projection, improving sharpness and reducing noise. The result exceeds standard exhibition but cannot match footage originated on IMAX film cameras.

Historical Context & Origin

IMAX was developed by Canadian filmmakers and engineers Graeme Ferguson, Roman Kroitor, Robert Kerr, and William Shaw, who sought to create a format for truly immersive large-scale cinema. The system debuted at the 1970 World Exposition in Osaka, and the first permanent IMAX theatre opened at Ontario Place in Toronto in 1971. Through the 1970s and 1980s, IMAX was used almost exclusively for documentary films in science museums and theme parks. The transition to mainstream commercial cinema began in the 1990s and accelerated in the 2000s. Christopher Nolan's use of IMAX cameras for action sequences in The Dark Knight (2008) was the first time IMAX footage appeared in a mainstream narrative feature. Nolan's Oppenheimer (2023) and The Odyssey (2026) pushed the format further, with The Odyssey becoming the first feature film shot entirely on IMAX film cameras. IMAX expanded from 30 15/70 venues for Oppenheimer to 41 for The Odyssey, refurbishing abandoned projectors and training 60 new projectionists because no new IMAX film projectors have been manufactured in approximately 50 years.

How It's Used in Practice

Scenario 1 - Filmmaker Choice (Director / DP): Christopher Nolan and DP Hoyte van Hoytema shot The Odyssey (2026) entirely on IMAX 15/70 film cameras. The production carried IMAX MSM 9802 cameras weighing over 45 kg (100 lb) alongside conventional 65mm cameras. The decision was both aesthetic and experiential: the extraordinary resolution of large-format film, projected on a true 1.43:1 IMAX screen, creates a viewing experience no digital format matches. The 41 15/70 venues worldwide sold out months in advance, with tickets reselling for $300 to $400 against a $25 to $28 face value.

Scenario 2 - Exhibition Strategy (Distributor): A major studio film opens across IMAX, standard, and other premium large format screens. The 1,800 IMAX screens globally represent a small fraction of total screens but generate a disproportionate share of opening weekend revenue. IMAX tickets command a $5 to $10 premium over standard admission. The distributor negotiates venue allocation with IMAX Corporation weeks before release, and IMAX screens are typically held for 1 to 2 weeks before rotating to the next blockbuster.

Scenario 3 - DMR Conversion (Post-Production): A film shot on standard digital cinema cameras is submitted to IMAX's DMR process. The post-production team works with IMAX engineers to optimize the image for large-format projection: sharpening, noise reduction, and aspect ratio adjustment. A film shot at 4K on an ARRI ALEXA 35 cannot fill a 1.43:1 IMAX screen natively, so DMR upconverts and reframes the image. The result benefits from the larger screen and enhanced sound but does not match the resolution of footage originated on IMAX film.

Usage Examples in Sentences

"The Batpod chase in The Dark Knight was the first time IMAX footage appeared in a mainstream narrative film. The difference was immediately visible."

"There are two kinds of IMAX: genuine 15/70 film or IMAX with Laser at 1.43:1, and the smaller digital venues at 1.90:1. They are not the same experience."

"IMAX tickets cost more because the presentation costs more to deliver. The projector, the booth, the screen, the sound system - all are substantially more expensive than standard exhibition."

"Nolan shot The Odyssey entirely on IMAX film. Only 41 theatres worldwide can project it in 15/70, and they sold out months ahead."

Common Confusions & Misuse

IMAX vs. IMAX Digital vs. IMAX with Laser: The IMAX brand covers a wide range of exhibition experiences. True 15/70 film IMAX projects at 1.43:1 on screens up to 40m wide and delivers the highest resolution available in commercial cinema. IMAX with Laser uses dual 4K laser projectors on full-size IMAX screens, displaying at 1.90:1 or 1.43:1 depending on venue capability. "IMAX Digital" venues in multiplexes use enhanced but standard-size screens with digital projection at 1.90:1, offering a modest upgrade over standard digital cinema but lacking the screen size and immersion of true IMAX venues. A ticket labeled "IMAX" does not guarantee the large-format experience.

IMAX vs. Premium Large Format (PLF): Dolby Cinema, ScreenX, 4DX, and other PLF systems offer enhanced presentation without the IMAX brand. Dolby Cinema uses dual 4K laser projectors with Dolby Vision HDR and a 1,000,000:1 contrast ratio. These systems compete with IMAX for premium ticket revenue but have different technical specifications and screen geometries. "Premium large format" is the industry category; IMAX is the dominant brand within it, with approximately 1,800 screens globally as of 2026.

Variations by Context

Key People & Films

Graeme Ferguson and Roman Kroitor, the Canadian filmmakers who co-founded IMAX, established the format's documentary tradition in the 1970s. Christopher Nolan became the format's most prominent narrative filmmaker advocate, beginning with The Dark Knight (2008), continuing through Interstellar (2014), Dunkirk (2017), Oppenheimer (2023), and culminating in The Odyssey (2026), the first feature shot entirely on IMAX film cameras. DP Hoyte van Hoytema has been Nolan's cinematographer since Interstellar and has developed specialized IMAX camera rigs for handheld and underwater use. Denis Villeneuve used IMAX cameras for sequences in Dune: Part Two (2024). IMAX CEO Richard Gelfond has led the company's expansion from museum installations to a global commercial cinema network.

Equipment / Tools Reference

The IMAX MSM 9802 is the primary 15/70 film camera in current use, weighing over 45 kg (100 lb) and requiring specialized rigs for handheld or Steadicam work. For productions needing IMAX-style large-format capture without the film infrastructure, the ARRI ALEXA 65 provides a digital alternative with comparable resolution. Nolan and van Hoytema developed custom housings for underwater and high-speed IMAX photography on The Odyssey. IMAX with Laser projection systems use proprietary dual 4K laser projectors with custom-designed lenses and optical engines. The 15/70 film projectors, last manufactured approximately 50 years ago, require custom platter systems with 9-meter (30-foot) film paths and reinforced projection booths. IMAX sound systems use proprietary laser-aligned speaker arrays and uncompressed multi-channel audio delivered from a synchronized hard drive, separate from the film print.

Standards & Specifications

IMAX 15/70 film uses 70mm stock running horizontally at 15 perforations per frame, producing a frame approximately 70mm x 52mm. The aspect ratio is 1.43:1 for 15/70 film projection and 1.90:1 for IMAX with Laser (select venues support 1.43:1 laser projection). IMAX with Laser delivers 4K resolution per projector with a wide color gamut exceeding Rec.709. IMAX DCP delivery follows a proprietary format distinct from standard DCI-compliant DCPs. IMAX sound systems are calibrated to reference levels specified by IMAX Corporation and exceed SMPTE standards for theatrical playback. The DCI specification for standard digital cinema requires 2K or 4K JPEG2000 in MXF; IMAX with Laser operates outside the standard DCI pipeline with proprietary encoding.

Common Questions / FAQ

Q: What is the difference between IMAX and IMAX with Laser?

IMAX with Laser is IMAX's current digital projection system, using dual 4K laser projectors. True IMAX 15/70 uses film projectors running 70mm stock at 15 perforations per frame. Only 41 theatres worldwide have 15/70 capability (2026). IMAX with Laser venues are far more common, with approximately 1,800 IMAX screens globally. Both deliver a large-format experience, but 15/70 film offers the highest resolution available in commercial cinema.

Q: Why are there so few IMAX 70mm theatres?

No new IMAX 15/70 film projectors have been manufactured in approximately 50 years. The original design files were never properly maintained, and many replacement parts no longer exist. IMAX refurbishes abandoned projectors and trains new projectionists from scratch. For The Odyssey (2026), IMAX expanded from 30 to 41 15/70 venues by salvaging and rebuilding projectors over more than a year.

Q: Do I need to shoot on IMAX cameras to release in IMAX?

No. Most films shown in IMAX are shot on standard digital cinema cameras and upconverted through IMAX's DMR (Digital Re-Mastering) process. DMR enhances sharpness and reduces noise for large-format projection, but the result does not match the resolution of footage originated on IMAX film. Films shot on IMAX cameras fill the full 1.43:1 screen; DMR-converted films typically display at 1.90:1 or are reframed.

Related Terms

• CinemaScope - An earlier widescreen format that expanded the cinema screen horizontally; IMAX expands in both dimensions
• Cinerama - A precursor large-format system using three projectors on a curved screen; directly influenced IMAX's immersive design
• Aspect Ratio - IMAX's 1.43:1 ratio distinguishes it from all standard widescreen formats (1.85:1, 2.39:1)
• 3D Movie - Many IMAX presentations were 3D; the two premium formats are often combined but are independent technologies
• Widescreen - The standard cinema formats that IMAX exceeds in image area, screen size, and immersion

See Also / Tools

Use the Shot List Generator to plan compositions for IMAX's near-square 1.43:1 aspect ratio, which requires different framing than standard widescreen. For mixed-format releases, compositions must work in both IMAX and standard aspect ratios.

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