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Oppenheimer Shot IMAX

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I grew up in Los Alamos N.M., I had the pleasure of meeting "Oppie" sitting through one of his lectures at our school. Also Werner von Braun gave a lecture at our high school. My advanced math and German language teacher was part of the German rocket program.
 
Rick A said:
I grew up in Los Alamos N.M., I had the pleasure of meeting "Oppie" sitting through one of his lectures at our school. Also Werner von Braun gave a lecture at our high school. My advanced math and German language teacher was part of the German rocket program.
Click to expand...

Wow.! ...................... 🙂
👍
 
Rick A said:
I grew up in Los Alamos N.M., I had the pleasure of meeting "Oppie" sitting through one of his lectures at our school. Also Werner von Braun gave a lecture at our high school. My advanced math and German language teacher was part of the German rocket program.
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That's amazing, Rick!
 
The IMAX version is on film and is eleven miles long. Kodak must be happy.

Jim b.
 
Mackinaw said:
The IMAX version is on film and is eleven miles long. Kodak must be happy.

Jim b.
Click to expand...

I wonder how many projection prints were ordered.
As a single master roll of current production of 35mm still film is enough for close to fifty thousand 135-36 rolls, I expect that remains far more important for them.
 
MattKing said:
I expect that remains far more important for them.
Click to expand...
Back of envelope if a master roll is 56 inches wide, that gives 20 70 mm strips.

Assuming a master roll is long enough to generate 6000 ft (with the trims) ship able rolls. The Catalouge shows only 2500 ft rolls of 70mm. (US875 each) so figure 4 of those to make 6000 ft.

A US staute mile is 5,280 feet . Guessing their fore that a 6000 ft master roll would be expected to have enough film for almost two full IMAX prints of this title.

I Imagine that that would be enogh to make Kodak Smile. Also it would be on ESTAR base so they can make the film base in House.
 
Some of this is in black and white. Does anyone know if the 65mm camera film is/was a black and white negative film?? I haven't a clue about Imax but 35mm cinema camera films are on acetate. Also begs the question are the 70mm prints on color print projection film?

I would be shocked if "real" (whatever that is) black and white films were used. This is so cool. 😊
 
mshchem said:
I now see that they did create black and white film!!!!
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I imagine if Christopher Nolan calls Kodak he get transfered to someone who can make almost ANYTHING happen. Photo engineer did metion that the Subbing layer for ESTAR is fifferent than for Tri-acetate. Kodak does have a lot of experience doing ESTAR microfilm, and Areo Film so they might have a "stock" solution to make a 65mm estar B&W film. AND not necessarily tell him he can only have Double-X (although EASTMAN 2222 does have a certain ring to it.)
perhaps IMAX has even found a way to run Acetate in their Cameras. ANY of the Camera negative films would be a special coating run in ESTAR. Again if your last name is Nolan, that can be arranged.

Kodak has switched to only making Estar in Print film, so they proably could slit some 2302 in 70mm fairly easaly. I do recall reading that sometimes the Silver in 2302 can have problems with Zenon Light sources, as it adsorbs a LOT more heat than a colour Stock so it might make more sense to print it all on 2383. You can be sure that Nolan probably tested it both ways. doing it all on 2383 would mean that you would not need a splice in each print everywhere they image transitioned from Color to B&W and Vs Versa.
 
Yes, Nolan enticed Kodak to cut Eastman 5222 Double-X in 15/70mm size. Just for this film.

I'm very excited for this film, but after seeing the trailer I cannot un-see the Nikon F3 used with a flash(bulb) as Oppenheimer exits the hearing room. Everyone using a Speed Graphic 4x5 with period correct Graflex bulb flashes and then That Guy. Don't watch it again and say I didn't warn you.
 
MattKing said:
I wonder how many projection prints were ordered.
As a single master roll of current production of 35mm still film is enough for close to fifty thousand 135-36 rolls, I expect that remains far more important for them.
Click to expand...

30 IMAX 70mm prints were made, 113 70mm, and ~80 35mm prints were made. My source is a guy who works at Fotokem (the ones who made the prints).

All printed on color, with the black and white scenes being printed onto the color internegative, except for a few special prints where the black and white scenes printed directly to the final print (bypassing the color interneg). This is done in my understanding to get an even higher resolution out of the black and white, for what I assume to be the premier.
 
mshchem said:
Maybe the real reason there's a short supply of XTOL 😅
Click to expand...
Short??? Just got 8 from BHPhoto. “Not my first choice”
Also as far as i know they develop BW in D96
 
Christiaan Phleger said:
Yes, Nolan enticed Kodak to cut Eastman 5222 Double-X in 15/70mm size. Just for this film.

I'm very excited for this film, but after seeing the trailer I cannot un-see the Nikon F3 used with a flash(bulb) as Oppenheimer exits the hearing room. Everyone using a Speed Graphic 4x5 with period correct Graflex bulb flashes and then That Guy. Don't watch it again and say I didn't warn you.
Click to expand...

So the cameras take 65mm. Projectors take 70mm. I still haven't seen specific information about the exact films, only that they "created a black and white film"
 
Kodak doesn't list a black and white print projection film. Could be possible that Nolan got double x slit to 65mm. Camera film seems easy, I wonder if Fotokem through some voodoo the printed this onto 70mm color projection film in black and white??
🤔😃
 
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