No matter what format you see “Oppenheimer” in, it should sound terrific according to Universal, the sound has been specifically mixed to maximize the power of the low-end frequencies in the main channels as well as in the subwoofer channel. Sound: While a handful of sound experts and purists might be able to discern slight differences between the various print formats and DCPs - one projectionist IndieWire spoke to argued that the regular 70mm prints might be slightly inferior because DTS audio is compressed and the other formats are not - for 99 percent of the audience, the distinctions between presentations in terms of audio will be negligible. The sound is coded on the prints in Dolby SR as well as Dolby 5.1 and DTS for 6-track digital playback. The sound is carried on a separate DTS disc to produce state-of-the-art 6-track digital sound.ģ5mm: The 35mm prints have been made photochemically, preserving all the rich analog color of the original 65mm photography, and cropped top and bottom to create a seamless 2.35:1 anamorphic image. This process is photochemical, preserving the original analog color of the imagery and presented in a 2.2:1 aspect ratio. But, Nolan said, “From a creative point of view, what we’ve found over the years is that there’s no compromise to composition.”ħ0mm: When presented on regular 70mm film, the sequences shot on 5-perf 65mm are presented in their native format, the IMAX sequences have been optically reduced to 70mm 5-perf film to produce a grain-free, ultra-high resolution image, cropped top and bottom to fill the wider frame. For formats such as 35mm, the top and the bottom get cropped. On the biggest presentations, IMAX 1.43:1 (the massive square screen), the screen essentially disappears for the audience. Van Hoytema is also always aware of the “frame lines for the different theaters” when looking through the camera. Starting with “The Dark Knight,” Nolan developed a system that they call “center punching the action” so that nothing is lost. “When you scan it for the digital format, you’re working with the absolute best possible image that you could acquire, and that translates wonderfully to the new projector formats like the laser projectors.” “This is the exciting thing about shooting an IMAX film,” Nolan told The Associated Press. Even if you’re striking 35mm prints or creating DCPs, the better the source image, the better the various iterations will be. Put simply, shooting this way captures images at the highest resolution and clarity. The large-format black-and-white was at the request of Nolan and van Hoytema and was a first for Kodak - it had never finished 65mm black-and-white film for IMAX - and required a partnership between Kodak/FotoKem/IMAX and Panavision to support the 65mm black-and-white workflow. Kodak supplied 65mm film for both the IMAX and Panavision cameras: 250D (5207) and 500T (5219) color negative, and Double-X (5222) black-and-white negative. Robert Oppenheimer (Cillian Murphy), the “father of the atomic bomb.” Nolan and van Hoytema used the IMAX camera to explore the dual landscapes of Los Alamos (where the first atomic bomb was tested) and Oppenheimer’s face for a more intimate cinematic spectacle. With “Interstellar,” which began Nolan’s integral collaboration with cinematographer Hoyte van Hoytema, the director grew increasingly experimental with the IMAX camera, culminating with his most daring use yet on “Oppenheimer,” the biopic thriller about physicist J. “I’d seen IMAX films in museums and was fascinated about it as a kid and used the fact that I was doing a sequel to negotiate with the studio about using it as a camera.” “IMAX film is the highest resolution film that’s ever been used, but it had never been used in Hollywood films until ‘Dark Knight,’” said Nolan. Christopher Nolan has been an analog guru and a large-format IMAX advocate since at least “The Dark Knight.” After shooting substantial portions of “ Interstellar,” “ Dunkirk, and “ Tenet” on 65mm in 15-perf IMAX, he now brings to theaters the epic “ Oppenheimer” in the format, which offers 10 times the resolution of standard projection formats.
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