Since 1994 , as far as movie theaters go , the IMAX at Lincoln Center in New York City is the best there is . With films project on an tremendous 100 - animal foot screenland , any reckon experience there certainly fits the bill as “ orotund than lifespan . ”
I went inside the project booth to see what type of machinery make the best - in - class experience possible .
When I stopped by to calculate behind the scenes , the IMAX at Lincoln Center was playing the70 mm mark of Interstellar . The print is 10 mile long and weighs 600 pound . To get to the theater it gets channelise via forklift and truck and acquire 6 hours to assemble once it arrives .
Once assembled , the photographic print has to be thread through the projector . To do this , the first 20 feet of the photographic print are taken and put through the projector across the room and back into a take - up spool , the winds it back up . There ’s a handy diagram on the machine , though the projectionist , like Mike Satran who handled Interstellar , usually know all the steps already .
The 70 mm IMAX projectors use a double projection method that jut twice the amount of light than a normal single lens system . This is what gives IMAX its key signature high brightness level , line , and sharpness . But it also makes the jut system a little more complicated than your average system , and making sure it ’s run perfectly is difficult .
Unlike any other jutting system of rules , 70 mm need a glass dose to keep the movie in place as it slides in front of the projector . This glass necessitate to be thoroughly clean house by the projectionist before each viewing . Because there is that extra layer of looking glass in front of the film , projectionist in reality necessitate to sit in and ascertain the whole picture to make certain no rubble or dirt show up on the film .
Even the way itself is part of the machine making the skilful forcing out potential . Two huge humidifiers keep the room between 45 and 65 per centum humidity . This preserves the prints so that they are never brittle . If they dry out , you execute the risk of crack or tearing them easily .
Once the photo is twist up and quick to go , the theater ’s equally impressive sound system is queue up with a singular 6 - TV channel laborious drive that plays , synced to the film .
For Interstellar , once everything was ready to go , Christopher Nolan himself stop by the theater and did a quality dominance straits , just to ensure the projection was as good as potential for his photographic film .
reasonably shortly these complicated but captivating projection methods will be replaced . IMAX is set to debut a dual 4 chiliad optical maser organisation that is capable of even more contrast and brightness level and a big range of color than IMAX ’s 70 mm prints , thanks to a collaboration between the IMAX and Kodak .
Along with good picture and a simpler acoustic projection organisation , a raw 12 - channel sound organization will be introduced , putting verbalizer above the audience . Lincoln Center ’s IMAX will be one of the first with the raw organisation .
The inevitable truth is that film is going away , for better or for worse ; digital is just leaving it behind . These intricate but mostly unknown projection systems will be replaced by something well and simpler , but just a little less intimate . But all you ’ll notice is that beautiful newfangled picture on the covert .
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