Nolan truly is the pioneer of IMAX for commercial blockbuster films. After the success of The Dark Knight many other directors started to use IMAX for their movies
I love how IMAX frames are so large, they decided to build the filmstock to be run sideways rather than vertically to reduce its width. You can see from the way the perforations are across the top and bottom of the frame rather than down the sides.
Bit of trivia: The Star Wars/Empire films shown were most likely from trailers and not release prints because they were spherical and not anamorphic to be shown before spherical movies. Possibly for the 1997 re-releases since they have digital soundtracks along the edge.
Oh yeah, that's how sound was done back then, printed onto negative just like filmic pictures, when it's projected on film projectors in theaters, there's a seperate reader that "projects" the sound
@robertjacques4117 Yeah, the funny thing is I just finished rewatch Inglorious Basterds and there's scene that they were making film with 35mm and asked someone to put a soundtrack on it lol.
Yep! It works VERY similar to how a barcode is scanned in your groceries. The only difference is the fact everything is done by LIGHT and analog components. We truly had it all before the digital transition.
I could be wrong, but it looked like that 35mm film had both the analog (Dolby SR?) waveforms, which you mentioned, and the Dolby Digital equivalent (between the sprocket holes on the same side).
There's even more types, there's 70 mm film from the 50s and 60s that is much wider then IMAX but not as tall, it was used for film epics in the Golden Era of Hollywood
I really don't get how those audio waves are read and turned into detailed sound??? I mean I get the picture part. But how can you get so much sound detail from what I see are just varying waves of the same color??
This is going to be a bit of a read, but bear with me. :) It's a "bilateral variable area" soundtrack. The transparent parts vary in width (thus variable area) to represent the audio waveform, mirrored symmetrically (bilateral). It's not entirely unlike a graphical representation of sound you see in a sound editing software. By shining light through a thin slit and then through the soundtrack onto a photocell as the film moves, the variations can be converted to an electrical signal. There have also been unilateral variable area soundtracks where only one edge varies, as well as variable density soundtracks which have a fixed width and the transparency itself varies. The movie industry settled on using two tracks side by side to reduce the impact of scratches and dirt on the sound, even though it was initially used for mono. This was called a "dual bilateral variable area" soundtrack. When widescreen formats arrived in the 1950s to compete with TV, they used far more expensive to make magnetic soundtracks for multichannel sound, while optical sound remained mono. In the 1970s, Eastman Kodak and RCA joined forces with Dolby to start making use of the two tracks as left and right stereo (stereo variable area or SVA), upmixed on playback to extract a center channel. Soon after, Dolby added a matrix encoded surround channel to the system which too could be recovered on playback through upmixing. A final bit of trivia is that the aforementioned photocell in the soundhead on the projector was sensitive to infrared light, which the lamp would produce to some extent. In black-and-white film, the silver halide would block that in the dark areas of the soundtrack. With color film however, the silver halide was washed away as part of the development process. To make the dark areas in the soundtrack block infrared light again so the soundtrack could be reproduced properly, it had to be smeared with silver paste and redeveloped to bind back silver halide. As high intensity red LEDs and lasers became available for use in optical soundheads, redevelopment of the soundtrack was no longer needed. This meant that starting in the late 1990s, optical soundtracks went from a very deep, near black magenta color to "high magenta" with less silver used, to cyan dye only tracks in the early 2000s. Because the latter passed infrared light, it required a red LED or laser reader for playback instead of an incandescent lamp, or the sound would become very faint and distorted.
Nolan may be particularly or even fully responsible for rejuvenating people's interest in IMAX as a film medium. I will be forever be thankful that I was able to see Dune part 2 in IMAX solely for the fact that I got to literally got to see two thirds more of that beautifully shot movie.
Yeah that's true, even though it can't be 100% calculated on a resolution basis, you can't really count pixels on film since it's different then digital but that is essentially and accurate comparison and representation of film to digital resolution I do love digital but film has so much beauty and character that digital I don't think can ever replicate, it will always be my favorite but still, digitalhas its own beauty, especially in the realm of color science
Star wars the force unleashed the other two and the giant of its own and I was just a bit worried about the other way around and the other one in a couple in my head to work on Monday and Thursday as I am going going going going to help you with the other one in a couple in my head to work on Monday and Thursday as I am going to the office to help you with the other one in 20th century fox and I love it much more than I have to go to bed and have to wait for the rest of the work
In the case of IMAX, it is better, period. 35mm has roughly the same resolution as 4K, IMAX is roughly 12K-18K. Digital doesn't even come close to that yet.
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Watching imax on its actual film is breathe taking
u so lucky :(
I watched Dune 2 in Imax 70mm theater, it was beyond spectacle
Nolan truly is the pioneer of IMAX for commercial blockbuster films. After the success of The Dark Knight many other directors started to use IMAX for their movies
Didn't LOTR also use imax?
I love how IMAX frames are so large, they decided to build the filmstock to be run sideways rather than vertically to reduce its width. You can see from the way the perforations are across the top and bottom of the frame rather than down the sides.
Bit of trivia: The Star Wars/Empire films shown were most likely from trailers and not release prints because they were spherical and not anamorphic to be shown before spherical movies. Possibly for the 1997 re-releases since they have digital soundtracks along the edge.
This is by far the coolest thing i've seen all day
Interstellar Oppenheimer God level from CHRISTOPHER NOLAN
I didn't know that audio can be printed on film!
Oh yeah, that's how sound was done back then, printed onto negative just like filmic pictures, when it's projected on film projectors in theaters, there's a seperate reader that "projects" the sound
@robertjacques4117 Yeah, the funny thing is I just finished rewatch Inglorious Basterds and there's scene that they were making film with 35mm and asked someone to put a soundtrack on it lol.
Yep! It works VERY similar to how a barcode is scanned in your groceries. The only difference is the fact everything is done by LIGHT and analog components. We truly had it all before the digital transition.
I could be wrong, but it looked like that 35mm film had both the analog (Dolby SR?) waveforms, which you mentioned, and the Dolby Digital equivalent (between the sprocket holes on the same side).
Indeed, all Dolby Digital soundtracks exclusively used Dolby SR on the SVA track.
VistaVision turns 35mm on its side like IMAX 70mm and it produces a stunning picture.
How doesn’t this have more views!
I never realized how film could be so different
There's even more types, there's 70 mm film from the 50s and 60s that is much wider then IMAX but not as tall, it was used for film epics in the Golden Era of Hollywood
Can’t wait for BMD’s new 17k Ursa with a massive IMAX-like sensor
I really don't get how those audio waves are read and turned into detailed sound??? I mean I get the picture part. But how can you get so much sound detail from what I see are just varying waves of the same color??
Wild, huh? It's a bit like vinyl records getting great sound out of grooves and a needle.
This is going to be a bit of a read, but bear with me. :)
It's a "bilateral variable area" soundtrack. The transparent parts vary in width (thus variable area) to represent the audio waveform, mirrored symmetrically (bilateral). It's not entirely unlike a graphical representation of sound you see in a sound editing software.
By shining light through a thin slit and then through the soundtrack onto a photocell as the film moves, the variations can be converted to an electrical signal.
There have also been unilateral variable area soundtracks where only one edge varies, as well as variable density soundtracks which have a fixed width and the transparency itself varies.
The movie industry settled on using two tracks side by side to reduce the impact of scratches and dirt on the sound, even though it was initially used for mono. This was called a "dual bilateral variable area" soundtrack. When widescreen formats arrived in the 1950s to compete with TV, they used far more expensive to make magnetic soundtracks for multichannel sound, while optical sound remained mono.
In the 1970s, Eastman Kodak and RCA joined forces with Dolby to start making use of the two tracks as left and right stereo (stereo variable area or SVA), upmixed on playback to extract a center channel. Soon after, Dolby added a matrix encoded surround channel to the system which too could be recovered on playback through upmixing.
A final bit of trivia is that the aforementioned photocell in the soundhead on the projector was sensitive to infrared light, which the lamp would produce to some extent. In black-and-white film, the silver halide would block that in the dark areas of the soundtrack. With color film however, the silver halide was washed away as part of the development process. To make the dark areas in the soundtrack block infrared light again so the soundtrack could be reproduced properly, it had to be smeared with silver paste and redeveloped to bind back silver halide.
As high intensity red LEDs and lasers became available for use in optical soundheads, redevelopment of the soundtrack was no longer needed. This meant that starting in the late 1990s, optical soundtracks went from a very deep, near black magenta color to "high magenta" with less silver used, to cyan dye only tracks in the early 2000s. Because the latter passed infrared light, it required a red LED or laser reader for playback instead of an incandescent lamp, or the sound would become very faint and distorted.
Love seeing these types of videos. 😊
You should also mention that there’s different sizes to 70mm film that’s based off the sprocket number
Nolan may be particularly or even fully responsible for rejuvenating people's interest in IMAX as a film medium.
I will be forever be thankful that I was able to see Dune part 2 in IMAX solely for the fact that I got to literally got to see two thirds more of that beautifully shot movie.
Danish TV2 news show yesterday a cinema was allowed to get a copy of Oppenheimer in 70mm to show at the premiere.
Here's it in a digital perspective.
16mm (4k but not amazing quality from rips I've seen)
35mm (8k and beautiful)
70mm (18k and amazing)
And on a side note, super 8 (2k at the maximum, but not that noticeable a difference from 1080p).
Yeah that's true, even though it can't be 100% calculated on a resolution basis, you can't really count pixels on film since it's different then digital but that is essentially and accurate comparison and representation of film to digital resolution
I do love digital but film has so much beauty and character that digital I don't think can ever replicate, it will always be my favorite but still, digitalhas its own beauty, especially in the realm of color science
Great video!!
Cool.
Love bids like this. Top stuff
Why does the 35mm and 70 mm film has audio waves, where do we get the audio for these reel projector
Why is 16mm film still being taught in school when now everything is going digital
Too keep the tradition alive. Why do people still learn math if there’s ai?
@@Christian_Dy u owned him 😂
Or calculators
Imagine AI technology enhancing the early Star Wars film to IMAX film
Thank you for the info! Very interesting
Great VIDEO. Wish it was shot horizontally. The vertical format is lame. With all due respect.
Where did you buy this, I need this.
It came in the pre-ordered steelbook copy of the Interstellar bluray disk!
I want one
Im here because im curious about zack snyder rebel moon 70mm btw noice video
Awesome!
🔥
Jesus H Christ that's a massive reel of film. Holy mother Mary.
I max me!!
Wouldn't 4:3 look great on that Imax frame?
Why there’s color in the film? I thought color in film will only shown this way if it’s a positive film?
because it is positive film?
Thats no film roll, its a 35mm monster...
If I wasn’t distracted by trophy hunting, I would’ve been all over this shit.
Normalize Imax
Star wars the force unleashed the other two and the giant of its own and I was just a bit worried about the other way around and the other one in a couple in my head to work on Monday and Thursday as I am going going going going to help you with the other one in a couple in my head to work on Monday and Thursday as I am going to the office to help you with the other one in 20th century fox and I love it much more than I have to go to bed and have to wait for the rest of the work
40% of the film is black bars
but almost no one uses film
please stop yapping
Fix your Thumbnail
Why are people still using film? Just because they wanna be cool and they placebo perceive a filmy vibe from it?
It looks so much better than digital
@durrclips746 No, it doesn't.
god youre insufferable, not everything is about saving costs
@@dw4270 yes it does, noice try though
In the case of IMAX, it is better, period. 35mm has roughly the same resolution as 4K, IMAX is roughly 12K-18K. Digital doesn't even come close to that yet.