Requiring special glasses?
Oppenheimer Shot IMAX
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Requiring special glasses?
Yes 3D glasses that the theater provides.
I opted for the 40th anniversary showing of National Lampoon's Vacation. I'm a huge fan of John Candy, but let's face it: Beverly D'Angelo's nipples were the real stars.
I have seen a couple of articles that confirm that the "Special Black and white film" was indeed 65mm EASTMAN 5222. aprently acording to one article the first batch provided to Nolan and company had Hand written labels on the Film Cans. the folks at IMAX also had to make some adjustments in the Imax Cameras to allow the film to work smothly, as the Emusion is aperently slightly thicker on 5222 than on the Vision Films like 5219. (reading it another way, perhaps it was more a presure plate situation as 5222 has an antistatic permant clear back coating which is perhaps not as lubricating as the rem Jet on the colour stocks)
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Kodak themselves just published this article today on the movie.. https://www.kodak.com/en/motion/blo...3_oppenheimer_blog&utm_campaign=MotionPicture
and also some videos : https://www.kodak.com/en/motion/page/oppenheimer
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MattKing
Moderator
Thanks for the links Charles.
That's amazingly freaking cool!
Yes, thank you very much Charles.
David
David
I was listening to the manager of a cinema on the radio last week saying something like "Nolan shot it on film but *my* cinema will be showing it on digital because film just can't match digital for quality".....I actually spat out my tea.
Perhaps this was a deliberate mistake and used as an allegory for the "times to come"? In other words the F3 was the hydrogen bomb equivalent to the Speed Graphic's atom bomb?
pentaxuser
Pentaxuser—I think you have a future in Media Studies!
Rick, I've not seen the movie yet so this is just a similar encounter you had only a bit after the fact so to speak. I played little league with a guy named Robbie Ferebee. His dad was Thomas Ferebee who was the bombardier on the Enola Gay. To add to the encounters of sorts my father was stationed where the Enola Gay and Bockscar took off from. Although my father worked as an electrician in the Army Air Corps he was called into work on one of the B-29's that could not feather a prop. Something about an air gap on an electro-magnet that did not have the necessary air gap to operate.
As Robbie was actually 2 classes behind me I had a brother and two friends in the same class who played baseball in later years with him and they said he was a heck of a pitcher.
I have tickets to see the Imax 70mm 15 perf version later this week and have not been as excited to go to a movie in a long time! Being a long time 6x7 shooter (P67II), how does the image area of the Imax frame compared to the 120 frame which doesn't come perforated?
In a personally interesting aside, back in a college math or physics course – I forget now which – we had a surprise guest lecturer one day: none other than Dr. Edward Teller, the father of the Hydrogen Bomb and one of the key players during the Oppenheimer years. I could hardly believe that I was taking notes from none other than Dr. Teller himself whose style was to sit on the desk and smile while lecturing.
In a personally interesting aside, back in a college math or physics course – I forget now which – we had a surprise guest lecturer one day: none other than Dr. Edward Teller, the father of the Hydrogen Bomb and one of the key players during the Oppenheimer years. I could hardly believe that I was taking notes from none other than Dr. Teller himself whose style was to sit on the desk and smile while lecturing.
Hey, does this mean we might see some Double-X appear in 120 some day?
My dream come true: Kodak Eastman Double-X film now in 120 format. Available from CineStill to photographers for the first time in medium format...!
Four years ago, I began wondering if a new film stock at the time, Bergger Pancro 400 had done the impossible; given me a BW film that looked like my
emulsive.org
I remember back in the mid-1960's Dr Teller taught a semester of Physics 10 on the Berkeley campus (I didn't take it). Physics 10 was for non-science majors to fulfill a breadth requirement in science. In some venues such a course might have been nicknamed "Physics for poets".
David
Cal, class of '66
"A bad year to run out your student deferment"
My dream come true: Kodak Eastman Double-X film now in 120 format. Available from CineStill to photographers for the first time in medium format...!
Four years ago, I began wondering if a new film stock at the time, Bergger Pancro 400 had done the impossible; given me a BW film that looked like my
Shows how much attention I pay to CineStill.
The 70mm version is proving popular in these parts. I ordered tickets last night and the earliest I could get seats that were not on the front row is August 11. Good news for filming with the good stuff!
yeh, i tried to get tickets for the IMAX showing in SF, but its only midweek last showing of the day front row far corner for 2 dates, otherwise sold out till the run is over. sad, but actually really cool. hopefully a lot more movies are released on film prints again
Jeez - I couldn't imagine watching that movie from the front row: your neck would be in a sling from looking up at the ceiling the whole time.
I wonder if the following would also apply to 6x7 photography with ordinary cameras like the Pentax 67?
Although I do not often shoot close-ups with the 67, I did take a very good close-up portrait using the 45mm lens on a P645N that filled the frame. In everyday usage with the P67 the 75mm FL is my most used lens for landscapes followed by the 55mm. The 45mm is a lighter and more compact lens than the 55mm but I prefer the look it gives me over the 45mm.
I wonder if the following would also apply to 6x7 photography with ordinary cameras like the Pentax 67?
Van Hoytema says that shooting Oppenheimer on analog film was a given from the get-go, and that the immersive quality of 65mm in IMAX 15-perf frame size was an irresistible lure. "Large format photography gives clarity and places the audience in the reality you are creating for them," he says. "Of course, as the film has grand vistas and deals with the explosion of the world's first atomic bomb, it had to be a blast, and there is nothing better than IMAX for creating that spectacular cinematic experience.
"That said, Oppenheimer is also a human drama, and my biggest technical challenge with shooting this film in large format was managing the myriad of close-ups while keeping the faces interesting and appealing and making the end result feel intimate and psychologically powerful.
"Through the years we have discovered that the sweet spots with IMAX are 50mm and 80mm. Anything beyond those focal lengths and you start to diminish the immersive quality of the image. If you go too long the image appears compressed and more graphic, as if you're looking at a sort of flat screen. Anything too wide becomes more like a fishbowl, where the edges start to fall off too fast. So, the 50mm has become our wide lens, the 80mm our tighter lens. On close-ups they give you the right proximity and wideness, and everything around starts to function like the peripheral vision of your eyes.
"But when shooting our close-ups, we didn't want the camera to be six feet away from our subject. We wanted to be much tighter, so that you really feel the perspective and the intimacy. Also, I knew we would be filming in low-light situations and would need to shoot at T1.4 rather than a T4.
"That said, Oppenheimer is also a human drama, and my biggest technical challenge with shooting this film in large format was managing the myriad of close-ups while keeping the faces interesting and appealing and making the end result feel intimate and psychologically powerful.
"Through the years we have discovered that the sweet spots with IMAX are 50mm and 80mm. Anything beyond those focal lengths and you start to diminish the immersive quality of the image. If you go too long the image appears compressed and more graphic, as if you're looking at a sort of flat screen. Anything too wide becomes more like a fishbowl, where the edges start to fall off too fast. So, the 50mm has become our wide lens, the 80mm our tighter lens. On close-ups they give you the right proximity and wideness, and everything around starts to function like the peripheral vision of your eyes.
"But when shooting our close-ups, we didn't want the camera to be six feet away from our subject. We wanted to be much tighter, so that you really feel the perspective and the intimacy. Also, I knew we would be filming in low-light situations and would need to shoot at T1.4 rather than a T4.
Although I do not often shoot close-ups with the 67, I did take a very good close-up portrait using the 45mm lens on a P645N that filled the frame. In everyday usage with the P67 the 75mm FL is my most used lens for landscapes followed by the 55mm. The 45mm is a lighter and more compact lens than the 55mm but I prefer the look it gives me over the 45mm.
Since they are selling out, maybe they will hold it over. I hope so. I got tickets about 1/3 of the way back from the front and close to the middle but I would like to see it in IMax a 2d time.
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