What is the difference between the regular Dark Knight and the IMAX Experience version?
Wednesday, March 17th, 2010 at
6:24 pm
There is a regular Dark Knight which is cheaper, but there is also the IMAX Experience, does the later have extra scenes, making of doc, or what?
I know the differences between theaters. My question what does the Imax experince have that the regular imax movie doesnt?
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IMAX is a film format. Conventional movies are shot on 35mm film (or high definition digital, which technically has less resolution than 35mm, though you can’t really notice). IMAX cameras use 65mm film, which is rarely used these days… it used to be used for large scale epics like Ben Hur and Spartacus, etc. 65mm therefore has twice the resolution and clarity of 35mm. IMAX, though, runs 65mm film through the projector SIDEWAYS, so the negative size is three times as large as conventional 65mm, or almost SIX times as much as conventional 35 mm.
"The Dark Knight" is the first feature film to actually use IMAX cameras for some sequences, about 20 minutes of the film is shot in IMAX. The picture is crystal clear and huge. It’s like looking into a giant window. So what do you get? You get something like being immersed in Gotham City for the biggest scenes in the film. If you can, see it in IMAX. This is not comparable to other "IMAX experience" presentations which were movies shot on 35mm blown up to IMAX. The frame shape of the IMAX scenes in Dark Knight are different as well, so you are seeing much more picture on the top and bottom.
Also, it IS NOT IN 3D. The people saying that have no idea what they are talking about.
imax means some scenes are in 3-D
wow And WOW!!!!!!
Probably since IMAX has a humongous screen and where I’mfrom, the entire DOME is the screen, which is very cool, but you get dizzy going up and down the steps. You fel like your on the wall sometimes too. I also heard most imax movies are in 3D, most likely not with The Dark Knight…?
The IMAX version has more intense and clear sound, better film quality since it was filmed on IMAX cameras. Also the theater isn’t as crowded.
watch both the regular one will be good, BUUUUT the IMAX one will blow your mind
Hmm. i never seen those movies but ill have 2 watch them.
Where to begin . . .
Regular theaters have average seating capacities like 40-60 seats. Has minimum sound quality. Screens sometimes pixilate in duration. Height is 20 meters length is 40 meters.
Now IMAX . . .
Has a capacity of 120-150 seats. 6.1 Surround Sound. Biggest screenings, Height is about 40 meters stretches about 60 meters. You actually sit very close to the screen. The maximum of how far you can be from the screen is about 40 meters.
Cool, huh?
In IMAX, it’s in 3-D where it can be, and at the theaters, (maybe not all,) they have a HUGE screen, and, you lay on the floor, and the screen is all on the ceiling.
i really wanna see one.
but my friend filled me in on what they’re like.(:
the IMAX would prob be a good experience.
The actual movie is the same, just the visuals an’ all are different. There are no added scenes in the IMAX version.
Also, cuz it bears mentioning; IMAX is not 3D, it’s just a bigger, better picture.
The intent of IMAX is to dramatically increase the resolution of the image by using much larger film stock at a resolution comparable to about 10000 x 7000 pixels (70 megapixels). To do this, 70 mm film stock is run "sideways" through the cameras. While traditional 70 mm film has an image area that is 48.5 mm wide and 22.1 mm tall (for Todd-AO), in IMAX the image is 69.6 mm wide and 48.5 mm tall. In order to expose at standard film speed of 24 frames per second, three times as much film needs to move through the camera each second.
Drawing the large-format film through the projector was a difficult technical problem to solve; conventional 70 mm systems were not steady enough for the 586x magnification. IMAX projection involved a number of innovations. William Shaw of IMAX adapted an Australian patent for film transport called the "rolling loop" by adding a compressed air "puffer" to accelerate the film, and put a cylindrical lens in the projector’s "block" for the film to be vacuumed up against during projection (called the "field flattener" because it served to flatten the image field). Because the film actually touches the "field flattener" lens, the lens itself is twice the height of the film and is connected to a pneumatic piston so it can be moved up or down while the projector is running. This way, if a piece of dust comes off the film and sticks to the lens, the projectionist can switch to the clean side of the lens at the push of a button. The lens also has "wiper bars" made of a felt or brush-like material which can wipe the dust off the lens as it moves up or down to keep the show clean. IMAX projectors are pin stabilized, meaning 4 registration pins engage the sprockets at the corners of the projected frame to ensure perfect alignment. Shaw added cam-controlled arms to decelerate each frame to eliminate the microscopic shaking as the frame "settled" onto the registration pins. The projector’s shutter is also open for around 20% longer than in conventional equipment and the light source is brighter. The largest 12-18 kW xenon arc lamps have hollow, water-cooled electrodes. An IMAX projector is therefore a substantial piece of equipment, weighing up to 1.8 tonnes and towering at over 70" [178 cm] tall and 75" [195 cm] long. The xenon lamps are made of a thin layer of quartz crystal, and contain xenon gas at a pressure of about 25 atmospheres; because of this, projectionists are required to wear protective body armor when changing or handling these lamps because the flying shards of crystal (should the lamp fall and crash) could be deadly when combined with the high pressure of the gas within.
IMAX uses a stronger "ESTAR" (Kodak’s trade name for PET film) base. The reason is not for strength, but precision. Developing chemicals do not change the size or shape of Estar, and IMAX’s pin registration (especially the cam mechanism) is intolerant of either sprocket-hole or film-thickness variations. The IMAX format is generically called "15/70" film, the name referring to the 15 sprockets per frame of 70 mm stock. The bulk of the film requires large platters rather than conventional film reels.
In order to use more of the image area, IMAX film does not include an embedded soundtrack. Instead the IMAX system specifies a separate six-channel 35 mm magnetic tape synchronized to the film. (This original system–35 mm mag tape locked to a projector–was commonly used to "dub" or insert studio sound into the mixed soundtrack of conventional films.) By the early ’90s, a separate digital 6-track source was synchronized using a more precise pulse generator as a source for a conventional SMPTE timecode synchronization system. This development presaged conventional theatrical multichannel sound systems such as Dolby Digital and Digital Theater System. This digital source came in the form of a unit called a DDP (Digital Disc Playback) in which the soundtrack was recorded onto multiple CD-ROM discs which would play the sound which was recorded to the discs as a digital audio file. This DDP system has been replaced in almost all theaters with the newer DTAC (Digital Theater Audio Control) system which utilizes a computer running the IMAX’s proprietary DTAC software. The software works in a similar style as the DDP except that instead of the audio file being based on discs, it is instead played directly off a hard drive in the form of a single uncompressed audio file containing the 6 channels which are distributed directly to the amplifiers rather than using a decoding method such as Dolby Digital. Many IMAX theaters place speakers directly behind the screen as well as distributing the speakers around the theater to create a three-dimensional effect.
IMAX theater construction also differs significantly from conventional theaters. The increased resolution allows the audience to be much closer to the screen; typically all rows are within one screen height. (Conventional theaters seating runs 8 to 12 screen heights) Also, the rows of seats are set at a steep angle (Up to 23 degrees in some domed theaters) so that the audience is facing the screen directly.