American Cinematographer - August 2000 - 89
ELITE
NO DISTORTION
9.6mm T2.1
the
price, which is helpful if you're
building your own Imax camera."
Eather says that in building his
camera, he learned just how precise
FIL TRA TION INSIDE
tolerances had to be. "I'd
NEW LINE
before,
never
built
learning
process. You have to pay attention to
the tiniest details. Anywhere it can go
wrong, it will - and did." Through
much trial and error, for example, he
learned not to use two registration
pins across the width of the film.
"Now they're along the length of the
film. It's better that way; the pins are
about 66mm [14 perforations] apart,
as opposed to about 50mm."
Large-format cameras use
a camera
so
it
was a
stock, and in addition to
Kodak Vision 800T 5289 emulsion,
65mm
the Solarmax
crew
used Kodak EXR
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35MM FORMAT
LENSES
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At:
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Los
However, the cameras churn through
Tel.:
film
Fax:
and
5245
1 2mm
Vision
500T
quickly - a 1,000' roll lasts just
three minutes in a large-format
camera. "You have to plan ahead
when you're filming a real-time
event," says Coleman. "[You have to
know] when you can change rolls."
The aspect ratio for largeformat is about 4:3, the
same as a
visit
our
Angeles, USA
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website: www.slowmotioninc.com
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television
image. But shape is about
only similarity between the two
formats. "The whole style of compo¬
sition for television really couldn't be
much different than what's required
for an Imax presentation," says
Weiley. Because documentaries are
almost invariably made for televi¬
sion, he adds, a background in
conventional documentary work
might be the worst possible training
for directing an Imax film.
Filmmakers working in a
large format have to think about the
screen in a whole new way. "The
the
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word 'frame,' which we use so natu¬
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says
Weiley. "It's
ovoid, wider at the bottom. It's
your field of
look in front of you
exactly
view. If you
and de-focus
what you're seeing is an
your eyes,
Imax frame."
Coleman adds that
format
image has
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American Cinematographer - August 2000
Table of Contents for the Digital Edition of American Cinematographer - August 2000
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