Cinematographer
The IMAX 1.43:1 format is radically different. The camera is massive, the lens setup completely different. IMAX lighting is spectacular and brutal – the high resolution amplifies every mistake. Natural light becomes my biggest tool.
IMAX 1.43:1 format specialized for 65mm film projection (15-perf 70mm). A unique nearly-square ultra-HD format with surprising vertical image height for monumental, immersive screen experiences.
In film history
Famous examples · IMAX 15/70
Curated examples across cinema history that illustrate the term — from compositional principle to deliberate refusal.
01 / FIRST FEATURE FILM WITH IMAX ACTION SEQUENCES
The Dark Knight
The Dark Knight was the first Hollywood feature to deliberately use IMAX 15/70 cameras for action sequences – approximately 28 minutes of the film were shot in native 1.43:1 format, demonstrating the monumental image potential of the format.
02 / COSMIC PROPORTION – THE FORMAT AS EXPERIENTIAL SPACE
Interstellar
Interstellar used the IMAX 1.43:1 format for large portions of the film, turning the near-square proportion into an emotional statement: the infinity of space becomes physically tangible through the image's vertical expansion.
03 / SHOT ENTIRELY IN IMAX – MAXIMUM IMAGE PRESENCE
Dunkirk
Dunkirk is one of the few feature films shot almost entirely on IMAX 15/70 film; the 1.43:1 format gives the war sequences an overwhelming immediacy and physicality that no other format achieves.
04 / IMAX AS HISTORICAL DOCUMENT – ANALOG FORMAT IN THE DIGITAL AGE
Oppenheimer
Oppenheimer was shot entirely on analog IMAX 15/70 film, including the first close-ups ever captured in IMAX format; the 1.43:1 image renders faces and explosions equally monumental, proving the format's unbroken expressive power in the 21st century.
History
The IMAX 1.43:1 format has a history independent of other studios:
Founding and Development:
- 1967: IMAX Corporation founded in Canada (by Greg Ellenson, Milo Rankin, Roman Kroitor)
- 1970: First IMAX projection at Expo '70 in Japan ("Fuji Pavilion")
- 1971: "The Incredible Shrinking Man" - first IMAX documentary
- 1977: Construction of the largest IMAX cinema (500+ seats)
- 1983: OMNIMAX (dome format) developed
- 1992: "Tango" - feature film in IMAX (not a Hollywood blockbuster)
- 1997: "Titanic" - scenes re-mastered in IMAX
- 2002: "Apollo 13" - Hollywood film fully re-mastered for IMAX
- 2009: Avatar IMAX 3D - turning point for commercial IMAX blockbusters
- 2010-Present: Marvel/Disney use IMAX for blockbusters
Philosophy:
- IMAX has always been "More than a movie" - an experience
- 15-Perf 70mm standard was a conscious Ultra-HD choice
- Documentary focus (National Geographic, BBC)
- Later: Commercialization for blockbusters
Technical Details
IMAX 1.43:1 Aspect Ratio Specifications:
Film Format:
- Standard: 65mm film stock (also IMAX 70mm with soundtrack)
- Official Name: "15-Perf 65mm" or "15-Perf 70mm"
- Aspect Ratio: 1.43:1 (15 perforations height × 69.7mm width)
- Image Size: 69.7mm × 48.8mm effective image area
- Frame Rate: Typically 24fps, occasionally 30fps
Comparison Table of IMAX Specifications:
| Aspect | 15-Perf 65mm IMAX | Standard 35mm | VistaVision |
|---|---|---|---|
| Aspect Ratio | 1.43:1 | 1.33-2.35:1 | 1.5:1 |
| Film Width | 65mm | 35mm | 65mm |
| Image Area | 69.7 × 48.8mm | 18-24mm × 13mm | 49 × 37mm |
| Perforation System | 15 Perforations | 4 Perforations | 8 Perforations |
| Resolution (Native) | ~18K equivalent | ~2K equivalent | ~8K equivalent |
| Size Relative to Standard | 100× larger | Baseline | 5× larger |
| Projection | Mirror system | Standard | Standard |
Detailed Technical Data:
- Film Stock Speed: 190 cm/s (Faster than standard 35mm)
- Light Output: 18-25 Foot-Lamberts (with 400W Xenon lamp)
- Screen Size: Typically 22m width × 16m height (70ft × 50ft sky-high format)
- Audience Viewing Angle: 60-70 degrees horizontal, up to 55 degrees vertical
- Depth of Field: Extremely shallow (large aperture requires focus precision)
Mirror Projection System:
- IMAX uses a unique mirror system (not standard lens projection)
- Allows for larger projection without lens distortion
- Multiple mirrors direct 65mm film to screen
- Special lamps required
Usage Today
The IMAX 1.43:1 format is still exclusive and rare, but has seen a resurgence through Hollywood blockbusters:
Native IMAX Productions (Shot on 15-Perf 65mm):
- "Mission Impossible: Ghost Protocol" (2011) - Brad Bird
- "Interstellar" (2014) - Christopher Nolan (partially shot in IMAX)
- "Oppenheimer" (2023) - Christopher Nolan (massive IMAX footage)
- "The Dark Knight Rises" (2012) - Christopher Nolan (partially)
- "Ant-Man and the Wasp: Quantumania" (2023) - Marvel/Disney
Commercialized IMAX Versions (Remastered):
- "Avatar" (2009) - Re-mastered for IMAX 3D
- Marvel Blockbusters: Certain scenes optimized for IMAX
- Christopher Nolan Films: Extreme IMAX muxing
Documentary/Educational Use:
- National Geographic: Documentaries in IMAX
- BBC Nature Series: Partially for IMAX theaters
- Planetarium Shows: IMAX as standard
- Museum Installations: Art projects utilize IMAX
Why the Renaissance:
- Christopher Nolan is an IMAX evangelist (has used it extensively since 2012)
- Marvel/Disney recognized the marketing potential
- Streaming competition drives cinemas to seek an "experience"
- IMAX theaters are an investment for studios
- Technological advancements (4K digital IMAX) improved accessibility
The 1.43:1 Format in Artistic Practice
Why 1.43:1 and not 1.85:1 or 2.35:1?
The seemingly "squarer" proportion of 1.43:1 is actually a deliberate choice:
- Monumental Height: People appear smaller against vast environments
- Sky Maximization: Air, clouds, cosmic expanses utilize full height
- Architectural Space: Churches, buildings utilize verticality
- Psychologically: Near-square evokes a different emotional response
Example: "Interstellar"
- Christopher Nolan used IMAX for space scenes
- The black void of space is amplified by the height
- The Cooper family in the farmhouse uses the full depth of the frame
Comparison: IMAX 1.43:1 vs. Other Large Formats
| Format | Ratio | Film Stock | Size | Resolution | Projection |
|---|---|---|---|---|---|
| IMAX 15-Perf | 1.43:1 | 65/70mm | Massive | ~18K | Mirror |
| VistaVision | 1.5:1 | 65mm | Large | ~8K | Standard |
| 70mm Todd-AO | 2.2:1 | 70mm | Large | ~8K | Standard |
| Cinemascope 65 | 2.2:1 | 65mm | Large | ~8K | Anamorphic |
| IMAX Laser | 1.43:1 | Digital 4K | Massive | 4K + | Laser |
Digital IMAX - The Dichotomy
Modern IMAX cinemas utilize two systems in parallel:
1. Film-Based IMAX (Original):
- 15-Perf 65mm film projection
- 18K resolution equivalent
- Only in larger cities now
- Extremely expensive to produce
2. Digital IMAX (2008+):
- 4K dual-laser projection
- 60% of IMAX cinemas are digital
- Compatible with 16:9 and other formats
- More affordable for studios
Controversy:
- Purist IMAX: Only 1.43:1 70mm is "true" IMAX
- Practical IMAX: 4K digital is more accessible
Interesting Factors for Filmmakers
Why Nolan Obsessively Uses IMAX:
Christopher Nolan has repeatedly stated:
- IMAX cameras force thoughtful filmmaking
- Cost + Size = Responsibility
- Every frame is valuable
- Viewers cannot see a mistake (even in 35mm)
- IMAX is "real" cinematography
The Practical Challenge:
- Few studios own IMAX 65mm cameras
- Panavision dominates the IMAX market
- Shooting costs are 3-5x higher than standard
- Post-production infrastructure is specialized
Future Perspectives
Trends:
- Hybrid: Partially shot in IMAX, partially standard
- Digital IMAX expands, 70mm cinemas close
- Streaming services (Apple, Netflix) invest in IMAX restorations
- Artificial 1.43:1 through cropping 2.35:1 material
Further Information
Technical Standards:
- IMAX Corporation Specifications (proprietary)
- SMPTE RP 486: 65mm Film Standards
- Panavision IMAX System Documentation
Related Entries:
- 15-Perf 65mm (Technical Description)
- 65mm / 70mm (Film Format)
- Cinemascope (For comparison)
- Christopher Nolan (Artist's Perspective)
From the crafts
Perspectives
Director
1.43:1 IMAX I choose for consciousness-expanding experiences. It's not for intimacy – it's for scale. Mountain landscapes, ocean horizons, cathedral spaces, the open sky. IMAX is for the sublime, the monumental.
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