What to know about IMAX, 70mm and Dolby as Christopher Nolan explains his favourite big-screen formats
He often wondered what it would be like to create a major Hollywood film for that format. That dream has now become reality with The Odyssey, the first feature film shot entirely on IMAX film.
Christopher Nolan has long dreamed of making films for IMAX screens. The Oscar-winning director of Oppenheimer, Inception and The Dark Knight trilogy says his fascination began in childhood after watching nature documentaries at Chicago's Museum of Science and Industry. He often wondered what it would be like to create a major Hollywood film for that format.
That dream has now become reality with The Odyssey, the first feature film shot entirely on IMAX film.
A milestone for IMAX filmmaking
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Nolan said the project became possible after years of technical improvements. Earlier IMAX cameras were too loud for dialogue-heavy scenes, but following Oppenheimer, filmmakers worked with IMAX to develop a special camera enclosure, known as "the blimp," that reduced the noise.
The new camera system, named The Keighley after longtime IMAX executives Patricia and David Keighley, is dedicated to David Keighley, who died three weeks after completing his work on The Odyssey.
The new setup also brought challenges. The camera weighed about 300 pounds once enclosed, film had to be reloaded every two-and-a-half to three minutes, and a mirror system had to be created so actors could see one another around the large camera during filming.
Despite the difficulties, Nolan said the goal was to give audiences "something special."
"They're looking for something new and exciting, and that's what we're trying to offer," he said.
Many viewing options
As The Odyssey opens in theatres on Friday, moviegoers can choose from several formats, including IMAX 70mm, standard 70mm, IMAX digital, 35mm, Dolby Cinema and other premium large-format screens.
Speaking to The Associated Press in 2023, Nolan explained why he prefers certain formats and why he believes seeing films in cinemas offers an experience that cannot be matched at home.
"If they can find an IMAX screen to see the film on, that's great," Nolan said. "It really is just a great way of giving people an experience that they can't possibly get in the home."
Why IMAX 70mm stands out
Nolan's previous films — Dunkirk, Tenet and Oppenheimer — were shot using large-format film, combining IMAX 65mm and Panavision 65mm, before being projected in 70mm.
He said IMAX 70mm offers unmatched sharpness, clarity and depth, making viewers feel immersed in the film without the need for 3D glasses.
"The screen disappears," Nolan said, explaining that the large image fills the audience's field of vision and creates a highly immersive experience.
He first used IMAX cameras in The Dark Knight, which opened with an IMAX 70mm aerial shot.
"Every time we screened that, we would get a gasp," he recalled. "It was something no one had seen before."
Technically, IMAX film delivers nearly 10 times the resolution of a traditional 35mm projector. Each frame contains roughly 18,000 pixels of detail, compared with 1,920 pixels on a standard home HD display.
Why shoot on 65mm but project in 70mm?
Nolan explained that the extra 5mm originally provided space for the soundtrack on film prints. Today, with digital sound, that space remains as part of the traditional format and serves as a visual enhancement.
Framing for different screens
Nolan said shooting with IMAX requires careful planning because different cinemas use different screen shapes, known as aspect ratios.
His team uses a technique called "center punching the action" to ensure key visual elements remain visible across all formats.
Cinematographer Hoyte van Hoytema also monitors framing for various screen sizes while filming.
On giant IMAX 1.43:1 screens, viewers see the full image. In other formats, including 35mm, digital and CinemaScope, parts of the top and bottom are cropped.
Nolan said this does not compromise the artistic composition of the film.
Nolan's preferred formats
For Nolan, IMAX 70mm remains the best way to experience a movie.
However, such screenings are rare, with only 32 theatres in the United States and Canada showing films in that format.
He also praised standard 70mm prints, calling them "a fabulous presentation."
"The two formats are sort of different and I love them both," he said.
Digital formats still offer a strong experience
Most audiences will watch The Odyssey in digital formats, including IMAX digital, laser projection and other premium large-format systems such as Regal RPX, Cinemark XD and Cineplex UltraAVX.
Nolan said his team spends months preparing digital versions from the original IMAX film to ensure the highest possible image quality across all screens.
He also praised modern laser projectors used in IMAX and Dolby Cinema theatres for their excellent picture quality and contrast.
According to Nolan, IMAX's influence over the past two to three decades has encouraged cinemas to improve picture and sound quality, benefiting both filmmakers and audiences.
Nolan's favourite seats
When it comes to choosing a seat, Nolan says it depends on the type of theatre.
For CinemaScope screens, he prefers sitting near the front, around the middle of the third row.
For large IMAX 1.43:1 theatres, he recommends sitting slightly behind the centre of the auditorium to get the best overall view.
