Media Technology

  • Showscan

    The Showscan process utilized 65mm negative filmed at 60 frames per second, and 70mm prints projected at 60 frames per second, resulting in unsurpassed clarity and realism on the screen. Often projected onto screens at over 30 foot lamberts of brightness, viewers reported a profound sense that the screen was a window onto reality. The process failed as a business due to an inability to compete with the market dominance of IMAX.

  • 65mm Film

    65mm cameras and optical printers were acquired as well as built by Entertainment Effects Group, and later Barnaby Jackson spearheaded the program to develop the Showscan CP-65 self-blimped high speed camera that won an Academy Award for Technical Achievement. 65mm was the mainstay of the photographic effects work at EEG and later Boss Film Company under the direction of Richard Edlund. By shooting the effects components and compositing in 65mm, high quality was maintained throughout, thus avoiding the loss of resolution and increase in grain and defects that result from 35mm duplicating processes.

  • Vistavision

    VistaVision was an eight perforation 35mm film process, with the film in the camera and projector running horizontally rather than vertically. This doubled the image size, resulting in the same quality control results nearly as good as 65mm, and has been used on myriad effects films at ILM, Apogee, Dream Quest, and others.

  • IMAX

    The IMAX film process includes 65mm photography with a horizontal pull-across of fifteen perforations, resulting in an image size three times larger than normal 65mm as used in Showscan, SuperPanavision, D-150, and Todd-AO. Projected using the revolutionary “rolling loop” technology, which included fixed registration pins at the gate, the image stability and clarity remains the finest in the film industry. Giant fifteen thousand watt water cooled lamps are used, along with extremely powerful sound systems, and some double projectors can deliver 3D as well. Greeted by audiences the world over, IMAX and IMAX 3D represent the brand that they know is the highest quality movie experience available. IMAX’s DMR process allows for 35mm movies to be improved and enlarged for IMAX presentation, often resulting in revenue multiples up to 8X the same film in a conventional 35mm theatre. Douglas Trumbull, Richard Gelfond, and Bradley Wexler acquired IMAX from its Canadian owners in 1994, and in collaboration with Wasserstein Perella and Company took IMAX public. Thus began the commercial application of the medium to multiplex theatres around the world and its emergence as the ultimate large screen experience.

  • IMAX 3D

    IMAX 3D has become synonymous with the largest screen and highest quality 3D experience due to the steadiness of the image as well as the brightness made available via double lamphouses and double 70mm 15 perf films. Although expensive due to print costs, the revenues generated has taken the film business by storm, ushering in a new age of digital 3D now being pioneered by RealD and its solid state electronic polarization of digital projection. Other digital 3D technologies are emerging, and many 3D films are in production, thanks to IMAX 3D.