How IMAX and 35mm coalesce in The Dark Knight
| The Dark Knight is a stellar example of how both the “old world” of film [photochemical] capture and the “new world” of digital finishes can combine creatively in service of the best imagery possible. Director Chris Nolan is on the record as a big fan of Imax films. |
Cinematographer Wally Pfister (left) and director Christopher Nolan (right) with the IMAX camera on location in Hong Kong for Warner Bros. Pictures’ and Legendary Pictures’ action drama The Dark Knight, distributed by Warner Bros. Pictures.
|
| He first dipped his toe into the narrative film possibilities of the format with Batman Begins, which underwent an Imax DMR (Digital Re-Mastering) “conversion” from 35mm to the Imax large-screen format. In fact, said David Keighley, executive vp of Imax Corp. and president of its post subsidiary DKP 70mm Inc., three minutes of that film was scanned at 6K (on the company’s 70mm FilmLight Northlight scanner). “It’s the clip when Christian Bale falls out of the truck and walks up to the monastery,” he revealed. “We wanted to do it to see how it looked. And Chris noticed it and seemed impressed.” | |
See the full article here
Posts (RSS)