Editing IMAX (section)

==Films==
{{see also|List of IMAX films|List of films released in IMAX|List of IMAX-based rides}}

=== Entertainment ===
[[File:Viewing 3D IMAX clips.jpg|thumb|left|Audiences view a film using 3D glasses.]]
[[File:Кинотеатр «Кристалл-IMAX».jpg|thumb|A movie theatre in [[Perm, Russia]] advertising itself as having IMAX]]
In the US, IMAX has mostly been used for specialty applications. The expense and logistical challenges of producing and presenting IMAX films have led to approximately 40 minutes shorter running times than conventional films. Most are documentaries suited for institutional venues such as museums and [[science museum|science centers]]. IMAX cameras have been used while orbiting the Earth, climbing [[Mount Everest]], exploring the bottom of the Atlantic Ocean, and visiting the [[Antarctic]]. A film about the [[Mars Exploration Rovers]], titled ''[[Roving Mars]]'' (2006), used exclusive data{{clarify|date=December 2015}} from the rovers.<ref name="IMAX"/>

An early attempt at presenting mainstream entertainment in IMAX format was ''[[Stones at the Max|The Rolling Stones: Live at the Max]]'' (1991), an 85-minute compilation of concert footage filmed in IMAX during the rock band's [[Steel Wheels/Urban Jungle Tour|1990 Steel Wheels tour]], edited to give the impression of a single concert. In the 1990s, more entertainment short films were created, notably ''[[T-Rex: Back to the Cretaceous]]'' in 1998, and ''[[Haunted Castle (2001 film)|Haunted Castle]]'' in 2001 (both in 3D). In 1995, French director [[Jean-Jacques Annaud]] directed ''[[Wings of Courage]]'', the first dramatic picture shot for IMAX. In 1998 and 1999, ''[[More (1998 film)|More]]'' and ''[[The Old Man and the Sea (1999 film)|The Old Man and the Sea]]'' became the first short films produced using the IMAX format; both earned Academy Award nominations, with ''Old Man and the Sea'' becoming the only IMAX film to win an Oscar. In 2000, [[Walt Disney Pictures|Disney]] produced ''[[Fantasia 2000]]'', the first full-length animated feature initially released exclusively in the IMAX format.

=== Use in Hollywood productions ===
Before the end of the 1990s, theatrical features were deemed impossible to run in IMAX venues at the time, as there was a technical limitation on the size of the film reel where films had to run around two hours. Originally, IMAX and [[Pixar]] considered releasing ''[[Toy Story]]'' in IMAX 3D, but test results showed that the render resolution could not match the size of the IMAX image.<ref>{{cite web |url=http://www.imax.com/community/blog/close-call/ |title=BLOG @ IMAX: Close Call |publisher=Imax.com |date=June 18, 2012 |access-date=November 7, 2012 |url-status=dead |archive-url=https://web.archive.org/web/20121030092740/http://www.imax.com/community/blog/close-call/ |archive-date=October 30, 2012 |df=mdy-all }}</ref> [[DreamWorks Pictures|DreamWorks]] in the early 2000s wanted to re-release ''[[Shrek]]'' in IMAX 3D, but this too was canceled as a result of creative changes in the studio.<ref>{{cite web |author=Studio Briefing |url=http://culture.com/news/item/1423/as-expected-imax-reports-a-loss.phtml |title=As Expected, IMAX Reports A Loss |publisher=Culture.com |date=November 9, 2009 |access-date=June 20, 2012 |archive-date=October 24, 2012 |archive-url=https://web.archive.org/web/20121024235831/http://culture.com/news/item/1423/as-expected-imax-reports-a-loss.phtml |url-status=dead }}</ref> These failed attempts at re-releases did inspire IMAX to experiment and improve their ability in presenting computer animation in their theaters. Their compilation ''[[CyberWorld]]'' was the result, which contained new original animation and IMAX-presented versions of computer-animated tests and music videos. ''Cyberworld'' even presented [[open matte|open-matte]] 3D versions of the bar sequence from ''[[Antz]]'' and the "[[Treehouse of Horror VI|Homer3]]" segment from ''[[The Simpsons]]''; both coincidentally were animated at [[Pacific Data Images]].

[[Walt Disney Pictures]] became the first studio to release theatrical films in the IMAX process. Released on New Year's Day in 2000, ''[[Fantasia 2000]]'' was the studio's first IMAX release and the first theatrical feature presented in IMAX theaters. It was originally planned as a standard theatrical release, but in agreeing with the company to release the film, the IMAX sound system incorporated a multi-channel and multi-layer stereo system for the orchestrated soundtrack, similar to the [[Fantasound]] system Walt Disney had envisioned for the [[Fantasia (1940 film)|original film]] in 1940. The company agreed to Disney's terms and conditions to gain the exclusive first showings of the film. These included a limited engagement of four months (from January 1 to April 30) and 50% of the box office receipts. Not all IMAX cinemas were prepared to accept Disney's terms to present the film; however, following the IMAX release, a standard 35&nbsp;mm run followed in June at regular theaters.

Although ''Fantasia 2000'' had a lukewarm financial run, the critical praise for its use of the IMAX format convinced Disney to put more releases in the giant-screen format in the pipeline. In 2002, IMAX re-issues of ''[[Beauty and the Beast (1991 film)|Beauty and the Beast]]'' and ''[[The Lion King]]'' were released in select theaters over the winter and Christmas seasons of that year. New [[digital master]]s were created from the original [[Computer Animation Production System|CAPS]] production files and select scenes of animation were cleaned up to make use of the high resolution IMAX film negatives. ''[[Treasure Planet]]'' was also released in select IMAX theaters and was the first theatrical film released in regular and IMAX theaters simultaneously. But all of these releases had underwhelming box office returns and Disney canceled later big-screen re-releases, including ''[[Aladdin (1992 Disney film)|Aladdin]]''.

With the unveiling of the DMR process (see below), [[Warner Bros. Pictures]] especially embraced the format beginning in 2003 with the two ''[[The Matrix|Matrix]]'' sequels, ''[[The Matrix Reloaded|Reloaded]]'' and ''[[The Matrix Revolutions|Revolutions]]''. Since ''[[Harry Potter and the Prisoner of Azkaban (film)|The Prisoner of Azkaban]]'' in 2004, Warner Bros. began releasing [[Harry Potter (film series)|the ''Harry Potter'' film franchise]] in IMAX to strong financial success. Also in 2004 the studio released [[Robert Zemeckis]]' motion-capture film ''[[The Polar Express (film)|The Polar Express]]'' in IMAX 3D. ''Polar Express'' became the most successful film released in IMAX theaters, producing at least a quarter of the film's gross of $302 million from fewer than 100 IMAX screens.{{citation needed|date=December 2011}} Success for Warner Bros. and IMAX followed in later years with ''[[I Am Legend (film)|I Am Legend]]'', ''[[Happy Feet]]'', ''[[Batman Begins]]'' and ''[[The Dark Knight]]''. Progressively other studios became further interested in releasing films in IMAX through the DMR process and have earned success through it. In May 2009, [[J. J. Abrams]]'s ''[[Star Trek (2009 film)|Star Trek]]'' was released in IMAX venues for the initial two weeks of its theatrical run and opened to $8.3 million.<ref>{{cite news |url=https://variety.com/2009/film/box-office/star-trek-beams-up-76-5-million-1118003418/ |title='Star Trek' beams up $76.5 million |first=Pamela |last=McClintock |work=Variety |date=May 10, 2009}}</ref> The IMAX opening weekends of ''[[The Avengers (2012 film)|The Avengers]]'' and ''[[Harry Potter and the Deathly Hallows – Part 2]]'' have since grossed $15 million.

Though they were not filmed with IMAX cameras, ''[[Skyfall]]'' and ''[[The Amazing Spider-Man (2012 film)|The Amazing Spider-Man]]'' were optimized for IMAX digital screens when they were released. Both movies were filmed in high-resolution cameras and the digital negative ratio was equal to that of the IMAX Digital frame. ''Skyfall'' increased the visual information of the entire film while ''Amazing Spider-Man'' optimized the finale battle with the Lizard. When [[James Cameron]]'s ''[[Titanic (1997 film)|Titanic]]'' was restored and re-released in theaters there was also specially made an open-matte version for IMAX. In 2010 after years of successful IMAX DMR releases, Warner Bros. signed a deal to release up to 20 feature films in IMAX up to 2013, including educational documentaries that were in production.<ref>{{cite news|author=QMI Agency |url=http://www.torontosun.com/money/2010/04/28/13751681.html |title=IMAX inks 20-film deal with Warner Bros. |newspaper=Toronto Sun |date=April 28, 2010 |access-date=May 23, 2012}}</ref>

In May 2015, [[Marvel Studios]] announced that its next two ''Avengers'' films – ''[[Avengers: Infinity War]]'' (2018) and ''[[Avengers: Endgame]]'' (2019) – would be filmed entirely in IMAX, the first Hollywood feature films to do so, using a modified version of [[Arri]]'s Alexa 65 digital camera. The camera was used first to film select sequences in another Marvel production, 2016's ''[[Captain America: Civil War]]''.<ref>{{cite web|last1=Vlessing|first1=Etan|title=Marvel's 'Avengers: Infinity War' to be Shot Entirely with Imax/Arri 2D Camera |url=https://www.hollywoodreporter.com/news/marvels-avengers-infinity-war-be-794031|website=The Hollywood Reporter|date=May 7, 2015|access-date=7 May 2015}}</ref><ref>{{cite web |title='Captain America: Civil War' First to Use IMAX/Arri 2D Camera|date=November 23, 2015 |url=http://www.imax.com/news/captain-america-civil-war-first-use-new-imaxarri-2d-camera-exclusive |publisher=IMAX |access-date=29 April 2016}}</ref><ref>{{cite web |title=Marvel's 'Avengers: Infinity War' To Be Filmed Using The IMAX/Arri Digital Camera |url=http://marvel.com/news/movies/24583/marvels_avengers_infinity_war_to_be_filmed_using_the_imaxarri_digital_camera |publisher=Marvel |access-date=29 April 2016 |archive-url=https://web.archive.org/web/20160121225657/http://marvel.com/news/movies/24583/marvels_avengers_infinity_war_to_be_filmed_using_the_imaxarri_digital_camera |archive-date=January 21, 2016 |url-status=dead |df=mdy-all }}</ref>

===DMR (Digital Media Remastering)===
{{see also|List of films released in IMAX}}
IMAX's proprietary DMR (Digital Media Remastering) process [[Video scaler|up-converts]] conventional films to IMAX format. This special [[digital intermediate]] technology let IMAX venues show films shot on 35mm for conventional theaters. In 2002, ''[[Star Wars: Episode II – Attack of the Clones]]'' and an IMAX-format re-release of the 1995 film ''[[Apollo 13 (film)|Apollo 13]]'', were the first official applications of the DMR process. Because of projection limitations at the time, the studios had to edit ''Apollo 13'' and ''Attack of the Clones'' to have a shorter playing time. As IMAX updated the system and expanded the size of the platters, the later DMR releases did not have this limitation; current platters provide a run time of up to 175 minutes. Reviewers have generally praised the results of the DMR blowup process, which are visually and audibly superior to the same films projected in 35mm.{{Citation needed|date=July 2010}} But some filmmakers, such as producer [[Frank Marshall (film producer)|Frank Marshall]], point out that DMR blowups are not comparable to films created directly in the 70&nbsp;mm 15 perf IMAX format, and that directors [[Ron Howard]] and [[George Lucas]] expected better.<ref>{{cite web|url=http://www.in70mm.com/news/2004/lfca/index.htm |title=Change Comes To LFCA. 2004 LFCA |publisher=In70mm.com |access-date=July 3, 2010}}</ref> They note that the decline of [[Cinerama]] coincided roughly with its replacement by a simpler, cheaper, technically inferior version, and view DMR with alarm. IMAX originally reserved the phrase "the IMAX experience" for true 70&nbsp;mm productions, but now allows its use on DMR productions as well.

After ''The Lion King'' in 2003, no Hollywood studio engaged in re-releasing and restoring classic films through the IMAX DMR process until 2012 although ongoing conversion of new releases continued and continued to grow in number. James Cameron's ''Titanic'' underwent both 3D conversion and DMR conversion to 3D in 2012 as did ''[[Men in Black 3]]''. In August 2012 IMAX and [[Paramount Pictures]] announced a one-week exclusive re-release of ''[[Raiders of the Lost Ark]]'' on September 7, 2012, to promote the release of the Blu-Ray collection. The film, before it underwent DMR, was already restored in a 4K digital intermediate with 7.1 surround sound from the original negative. The process for IMAX theaters, like with the complete restoration, was supervised by [[Steven Spielberg]] and sound designer [[Ben Burtt]]. "I didn't know if the 1981 print would stand up to a full IMAX transfer, so I came expecting a sort of grainy, muddy, and overly enlarged representation of the movie I had made years ago", Spielberg said. "I was blown away by the fact that it looked better than the movie I had made years ago."<ref>{{Cite web |date=2012-08-15 |title=Steven Spielberg says 'Raiders of the Lost Ark' looks better than ever in IMAX |url=https://www.yahoo.com/entertainment/blogs/movie-talk/steven-spielberg-says-raiders-lost-ark-looks-better-163808385.html |access-date=2024-03-29 |website=Yahoo Entertainment |language=en-US}}</ref>

===Feature films===
[[File:Christopher Nolan, London, 2013 (crop).jpg|thumb|upright|[[Christopher Nolan]] has been a vocal supporter of the IMAX 70 mm film format, and has collaborated with the company since the mid-2000s.<ref name=NolanIMAX>{{cite web|url=https://variety.com/2018/film/features/christopher-nolan-emma-thomas-wow-moments-filming-in-imax-1202721099/|title=Christopher Nolan, Emma Thomas on 'Wow Moments' Filming in Imax|first=Nick|last=Clement|date=March 8, 2018|work=Variety|access-date=June 1, 2018}}</ref>]]

Many recent features have employed IMAX cameras for select scenes; however, before 2018 no full-length feature film was shot entirely using IMAX cameras due to the numerous difficulties presented with the format – the cameras were much larger and heavier than standard cameras and the noise they produced made dialogue recording difficult.<ref name="Slash">{{cite web|title=How The Dark Knight Went IMAX|publisher=Slash Film|date=June 14, 2008 |url=https://www.slashfilm.com/how-the-dark-knight-went-imax/| access-date=January 23, 2011}}</ref> The 15/70 cameras have short film loads ranging from 30 seconds to two minutes<ref name="Slash"/> and the cost of the film stock was much greater than standard 35mm film.<ref name="Wrap">{{cite web|title=3D a 'Flash in the Pan' – 'Inception' Cinematographer|publisher=The Wrap|date=November 12, 2010 |url=https://www.thewrap.com/movies/article/inception-cinematographer-3-d-may-be-flash-pan-22480| access-date=January 23, 2011}}</ref> However, these issues have been minimized thanks to the digital Arri Alexa IMAX camera, with two films having been shot entirely with the camera.<ref name=infinity>{{cite web|url=https://variety.com/2015/film/news/avengers-infinity-war-to-be-shot-entirely-with-imax-cameras-1201489782/|title='Avengers: Infinity War' to Be Shot Entirely With Imax Cameras|date=7 May 2015|first=Brent|last=Lang|access-date=7 March 2016|work=Variety|publisher=Variety Media, LLC}}</ref>

''[[The Dark Knight]]'' features six sequences (a total of 28 minutes) shot using IMAX. According to the film's press notes, this was the "first time ever that a major feature film has been even partially shot using IMAX cameras".<ref>Warner Bros. Pictures press notes, ''The Dark Knight''</ref> Even before ''Dark Knight'', Nolan had wanted to shoot a film in the IMAX format, and he also used it for quiet scenes that it would make pictorially interesting. Nolan said that he wished that it were possible to shoot the entire film in IMAX: "if you could take an IMAX camera to Mount Everest or outer space, you could use it in a feature movie." Nolan chose to edit some of the IMAX sequences using the original camera negative to eliminate generation loss, while scenes that were digitally mastered were scanned and printed out at 8 thousand lines of horizontal resolution (8K).<ref name=fxguide>{{cite web|url=https://www.fxguide.com/featured/dark_knight_imax_effects_and_that_bike/|title=Dark Knight: Imax, Effects and That Bike|first=Mike|last=Seymour|date=July 21, 2008|work=fxguide.com|access-date=March 7, 2016}}</ref> When the film opened in 94 IMAX venues in 2008, all of them were sold out for the opening weekend.

A year later, director [[Michael Bay]] was inspired by IMAX's use in ''The Dark Knight'' to feature big-screen sequences in ''[[Transformers: Revenge of the Fallen]]''.<ref>{{cite web|title=Exclusive Video: Director Michael Bay talks Transformers Revenge of the Fallen|publisher=Collider|date=February 9, 2009|url=https://www.collider.com/entertainment/interviews/article.asp/aid/10866/tcid/1|access-date=April 16, 2010|archive-date=September 20, 2011|archive-url=https://web.archive.org/web/20110920003747/http://collider.com/entertainment/interviews/article.asp/aid/10866/tcid/1|url-status=dead}}</ref> The film's co-writer Roberto Orci suggested that the IMAX footage would be 3D, but Bay later said that considering himself an "old school" filmmaker, he found 3D gimmicky and added that shooting in IMAX was easier than using stereoscopic cameras. The IMAX version of the film, in the end, contained almost ten minutes of IMAX-filmed footage out of the two and a half-hour film. Bay later partially filmed the third ''[[Transformers (film series)|Transformers]]'' film, ''[[Transformers: Dark of the Moon|Dark of the Moon]]'' in 3D but without IMAX. Bay returned to IMAX for the fourth film, ''[[Transformers: Age of Extinction|Age of Extinction]]'', in 2014. It was the first feature film shot using digital IMAX 3D cameras.<ref>{{cite web|url=https://collider.com/transformers-4-imax-digital-camera-michael-bay/|title=Exclusive: Michael Bay Reveals TRANSFORMERS 4 Will Shoot the 'Showcase Scenes' With the New IMAX 3D Digital Camera |publisher=Collider.com |date=April 15, 2013 |access-date=April 17, 2013}}</ref> He again used IMAX 3D cameras while shooting the fifth film, ''[[Transformers: The Last Knight]]'', filming 98% of the film with 2 Alexa/IMAX cameras attached together to a special mount.

Two years later, [[Terrence Malick]]'s ''[[The Tree of Life (film)|The Tree of Life]]'' filmed select sequences using IMAX cameras, and often used natural light. The film used a mix of 35mm film and regular 65mm and the IMAX 15/70&nbsp;mm format. The set of guidelines they fine-tuned for this film included an edict to achieve maximum resolution whenever possible. "We would have preferred to shoot the entire movie in IMAX," says cinematographer of the film [[Emmanuel Lubezki]]. "When the 65mm and IMAX scenes do appear in the movie, they give you a jolt. It's a feeling of enhancement and majesty. It's almost as if someone cleaned off the window you were looking through". However the film wasn't screened on any IMAX screen.<ref>{{cite web|date=2015-05-03|title=Emmanuel Lubezki AMC ASC / The Tree of Life|url=https://britishcinematographer.co.uk/emmanuel-lubezki-amc-asc-the-tree-of-life/|access-date=2020-08-07|website=British Cinematographer|language=en-GB|archive-date=November 12, 2020|archive-url=https://web.archive.org/web/20201112024752/https://britishcinematographer.co.uk/emmanuel-lubezki-amc-asc-the-tree-of-life/|url-status=live}}</ref>

After ''The Tree of Life'', [[Brad Bird]]'s ''[[Mission: Impossible – Ghost Protocol]]'' included 25 minutes of footage shot using IMAX cameras.<ref>{{cite web|title=Paramount Pictures and IMAX Pact for Four Films in 2011|publisher=Giant Screen Cinema Association|date=January 10, 2011 |url=http://www.giantscreencinema.com/Newsroom/News/tabid/70/ctl/ViewItem/mid/528/ItemId/1007/Default.aspx?SkinSrc=/Portals/_default/Skins/NewSkinner/News&ContainerSrc=/Portals/_default/Containers/NewSkinner/Basic | access-date=January 18, 2011}}</ref><ref>{{cite web|title='Mission Impossible' To Open Early On IMAX|publisher=[[Paramount Pictures]] [[press release]] |via=[[Deadline Hollywood]]|date=October 5, 2011|url=https://deadline.com/2011/10/mission-impossible-to-open-early-on-imax-179571/ | access-date=October 27, 2011}}</ref> Bird believed that using IMAX format would bring back "a level of showmanship" to the presentation of Hollywood films, which he believes the industry has lost due to its emphasis on screening films in [[Multiplex (movie theater)|multiplexes]] as opposed to grand theaters, and vetoing "first runs" in favor of wider initial releases.<ref>{{cite news|title=Brad Bird: 'Mission: Impossible' opening early at IMAX|publisher= Indiewire|date= September 28, 2011 |url=http://herocomplex.latimes.com/2011/09/28/brad-bird-were-opening-mission-impossible-early-at-imax/| access-date=October 27, 2011}}</ref> He also added that the IMAX format offered the viewer more immersion than digital 3D due to its brighter, higher quality image, which is projected on a larger screen, without the need for specialised glasses. ''Ghost Protocol'' opened on December 16, 2011, in almost 500 IMAX venues worldwide a week before its wide release where it earned third place in the box office and $12 million.

As with ''The Dark Knight'', [[Christopher Nolan]] decided to film sequences of the sequel, ''[[The Dark Knight Rises]]'', in 15/70mm IMAX.<ref>{{cite web|title=VP of IMAX talks 'The Dark Knight Rises'|publisher=Batman-News.com|date=October 27, 2010 |url=http://batman-news.com/2010/12/22/vp-of-imax-talks-the-dark-knight-rises/ | access-date=December 28, 2010}}</ref> Nolan elected not to film in 3D and stated that he intends to focus on improving image quality and scale using the IMAX format. In a then-Hollywood record, ''The Dark Knight Rises'' featured 72 minutes of footage shot in 70mm IMAX (roughly 2.5 times that of ''The Dark Knight's'' 28 minutes, however, this record was later overtaken by another Nolan film, ''Dunkirk'', which featured 79 minutes of IMAX) Because of the considerable noise IMAX cameras make, they used standard 35mm cameras to shoot dialogue scenes, and dubbed dialogue in scenes shot with IMAX cameras. Chairman and president of the IMAX Corporation Greg Foster stated that IMAX plans to run the film in its theaters for two months, despite only being contractually committed to run the film for two weeks in some theaters.

[[J. J. Abrams]]'s ''[[Star Trek Into Darkness]]'',<ref>{{cite web|title='Star Trek' Sequel Is Being Shot Partially On IMAX|publisher=Slash Film|date=February 24, 2012 |url=https://www.slashfilm.com/star-trek-sequel-shot-partially-imax/ | access-date=February 25, 2012}}</ref> [[Francis Lawrence]]'s ''[[The Hunger Games: Catching Fire]]'',<ref>{{cite web|last=Sullivan |first=Kevin P. |url=http://www.mtv.com/news/articles/1687289/hunger-games-catching-fire-imax.jhtml |archive-url=https://web.archive.org/web/20120616010526/http://www.mtv.com/news/articles/1687289/hunger-games-catching-fire-imax.jhtml |url-status=dead |archive-date=June 16, 2012 |title='Hunger Games: Catching Fire' To Light Up IMAX Screens – Music, Celebrity, Artist News |publisher=MTV.com |date=June 13, 2012 |access-date=November 7, 2012}}</ref> [[Luc Besson]]'s ''[[Lucy (2014 film)|Lucy]]'',<ref>{{cite news|url=https://www.imax.com/corporate/proxy/phx.corporate-ir.net/phoenix.zhtml?c=118725&p=irol-newsArticle_print&ID=1945492&highlight=|title=Universal Pictures and Europacorp's "Lucy" Races into International IMAX® Theaters Starting August 8|date=8 July 2014|work=PRN Newswire|publisher=IMAX Corporation|access-date=3 August 2014|url-status=dead|archive-url=https://web.archive.org/web/20150403170241/https://www.imax.com/corporate/proxy/phx.corporate-ir.net/phoenix.zhtml?c=118725&p=irol-newsArticle_print&ID=1945492&highlight=|archive-date=April 3, 2015|df=mdy-all}}</ref> and Christopher Nolan's ''[[Interstellar (film)|Interstellar]]''<ref>{{cite web|url=https://www.slashfilm.com/christopher-nolans-interstellar-michael-bays-transformers-4-to-shoot-in-imax/|title='Interstellar' and 'Transformers 4' to Shoot in IMAX; Michael Bay Will Use New IMAX Camera For Native 'T4' 3D |publisher=slashfilm.com |date=April 15, 2013 |access-date=April 17, 2013}}</ref> are films that were released between 2013 and 2014 that had sequences filmed with 15/70 IMAX cameras.

On July 9, 2014, Bad Robot (J. J. Abrams's production company) confirmed via a picture uploaded to Twitter that one sequence in Disney and Lucasfilm's ''[[Star Wars: The Force Awakens]]'' would be captured with the IMAX 15/70 perf film camera, in addition to the standard 35&nbsp;mm film cameras that Abrams and his cinematographer Dan Mindel have employed for shooting the movie.<ref>{{cite web |url=http://www.imax.com/community/blog/imax-camera-poses-on-the-set-of-star-wars-episode-vii/ |title=BLOG @ IMAX: IMAX® Camera Poses on the Set of Star Wars Episode VII |access-date=2014-07-11 |url-status=dead |archive-url=https://web.archive.org/web/20140714182349/http://www.imax.com/community/blog/imax-camera-poses-on-the-set-of-star-wars-episode-vii/ |archive-date=July 14, 2014 |df=mdy }}</ref> The next installment in the franchise [[Rian Johnson]]'s ''[[Star Wars: The Last Jedi]]'', released in December 2017, also included sequences shot with 15/70mm IMAX cameras.

[[Adele]]'s music video "[[Hello (Adele song)#Music video|Hello]]", released in 2015, became the first music video that was partially filmed with IMAX cameras.<ref>{{cite magazine|last1=O'Donnell|first1=Kevin|title=Inside the top-secret making of Adele's powerful 'Hello' video|url=https://www.ew.com/article/2015/10/23/xavier-dolan-adele-hello|access-date=October 26, 2015|magazine=Entertainment Weekly|date=October 23, 2015|quote=All of it is shot on film. The shots on IMAX are two shots: mostly the finale on that pond, and there's the shot of her opening her eyes.}}</ref>

In April 2015, Marvel Studios announced that [[Russo brothers]]' ''[[Captain America: Civil War]]'' would be the first film to use the new Arri Alexa IMAX 2D digital camera, which was used to shoot approximately 15 minutes of the film.<ref name="captain-america"/> In May 2015, the Russo brothers announced that their films ''[[Avengers: Infinity War]]'' and ''[[Avengers: Endgame]]'', released in 2018 and 2019, the first Hollywood feature films shot entirely in IMAX, albeit using Arri Alexa IMAX cameras instead of 15/70 perf film.<ref name=infinity/>

[[Rihanna]]'s music video "[[Sledgehammer (Rihanna song)|Sledgehammer]]", released in 2016, was the second music video to use the new Arri Alexa IMAX camera.<ref>{{cite web|url=http://www.imax.com/news/rihanna%E2%80%99s-new-music-video-imax |title=Rihanna's New Music Video in IMAX &#124; IMAX |access-date=2016-10-06 |url-status=live |archive-url=https://web.archive.org/web/20161022095452/http://www.imax.com/news/rihanna%E2%80%99s-new-music-video-imax |archive-date=October 22, 2016 |df=mdy }}</ref>

Other films between 2016 and 2021 that captured with IMAX cameras were [[Zack Snyder]]'s ''[[Batman v Superman: Dawn of Justice]]'', [[Clint Eastwood]]'s ''[[Sully (film)|Sully]]'', [[Damien Chazelle]]'s ''[[First Man (film)|First Man]]'', [[Jon Favreau]]'s ''[[The Lion King (2019 film)|The Lion King]], ''[[Patty Jenkins]]' ''[[Wonder Woman 1984]]'' and [[Cary Joji Fukunaga]]'s ''[[No Time to Die]]''. ''Sully'' was filmed with Arri Alexa IMAX cameras for almost the entire film and ''The Lion King'' for select sequences. The rest had sequences that were filmed with 15/70&nbsp;mm IMAX cameras.

Five Chinese titles have been captured with IMAX digital cameras (including two with IMAX-certified cameras); selected scenes in [[Jiang Wen]]'s ''[[Gone with the Bullets]]'' in 2014, the entirety of [[Guan Hu]]'s ''[[The Eight Hundred]]'' in 2020, almost all of [[Chen Sicheng]]'s ''[[Detective Chinatown 3]]'' in 2021 and the entirety of [[Chen Kaige]], [[Tsui Hark]] and [[Dante Lam]]'s ''[[The Battle at Lake Changjin]]'' and ''[[The Battle at Lake Changjin II]]'' with IMAX-certified [[List of Red Digital Cinema cameras|Red Ranger Monstro]] cameras in 2020 and 2022.

Christopher Nolan used 15/70 IMAX cameras again on his next film, ''[[Dunkirk (2017 film)|Dunkirk]]''. However, unlike the previous films, where he used the cameras for select sequences, Nolan used IMAX as the primary shooting format, with 75% (about 79 minutes) of the 106-minute film featuring footage shot in 70&nbsp;mm IMAX (breaking the aforementioned record that a previous Nolan film, ''[[The Dark Knight Rises]]'', held). This was possible due to the sparsity of dialogue in the film, as 15/70&nbsp;mm IMAX cameras are notoriously noisy (a few dialogue-heavy scenes were shot with regular 70&nbsp;mm film cameras from [[Panavision]]). IMAX cameras were also used hand-held for the first time, as Nolan was advised by both [[Steven Spielberg]] and [[Ron Howard]] that it was the best way to shoot on vessels. ''Dunkirk'' received the widest release on 70mm IMAX since his last film, ''[[Interstellar (film)|Interstellar]]'', with the film being released on the format in 37 theaters around the world. The director's 2020 film, ''[[Tenet (film)|Tenet]]'' filmed 76 minutes with 15/70&nbsp;mm IMAX cameras, the rest of the film was shot with regular 70&nbsp;mm film cameras from [[Panavision]]. The film's six-minute opening sequence was shown before IMAX screenings of ''[[Star Wars: The Rise of Skywalker]]''.<ref>{{cite web|url=https://www.hollywoodreporter.com/heat-vision/tenet-imax-prologue-shows-a-time-bending-mission-1264421|title=How 'Tenet' Prologue Sets Up a Time-Bending Story|website=The Hollywood Reporter|date=December 20, 2019}}</ref> Tenet was shown over 13 theaters globally in 70mm IMAX.<ref>{{cite web|url=https://www.imax.com/news/warner-bros-pictures%E2%80%99-and-christopher-nolan%E2%80%99s-tenet-open-imax%C2%AE-70mm|title=Warner Bros. Pictures' and Christopher Nolan's Tenet to Open in IMAX® 70MM|date=August 13, 2020|website=Imax.com}}</ref>

In September 2020, IMAX announced a new program called 'Filmed in IMAX', a new partnership with camera manufacturers to meet filmmaker demand for the format. Through the program, IMAX will certify digital cameras with brands including [[Arri Alexa]], [[Panavision]], [[Red Digital Cinema]] and [[CineAlta|Sony]] to work in the IMAX format when paired with its post-production process. The new program certifies the [[Arri Alexa LF]] and [[Arri Alexa#Alexa_Mini_LF|Mini LF]], [[Panavision cameras#Digital video|Panavision Millennium DXL2]], [[List of Red Digital Cinema cameras|Red Ranger Monstro and Komodo]] and [[CineAlta#List of CineAlta cameras|Sony's CineAlta Venice]] cameras along with the Arri Alexa IMAX camera previously announced with Arri Rental. As part of the program, IMAX will also certify independent camera rental houses that can supply certified cameras worldwide, starting with Panavision, Arri and Keslow Camera. IMAX will select only a limited number of films to participate in the program each year. [[James Gunn]]'s ''[[The Suicide Squad (film)|The Suicide Squad]]'' (shot with the Red Ranger Monstro and Komodo),<ref>{{cite web|url=https://ymcinema.com/2021/03/31/the-suicide-squad-trailer-released-shot-on-imax-certified-red-monstro-and-komodo/|title=The Suicide Squad Trailer Released: Shot on IMAX Certified RED Monstro and Komodo|first=Yossy|last=Mendelovich|website=Ymcinema.com|date=March 31, 2021|access-date=May 10, 2021}}</ref> [[Colin Tilley]]'s ''[[If I Can't Have Love, I Want Power (film)|If I Can't Have Love, I Want Power]]'' (shot with the Arri Alexa IMAX), [[Destin Daniel Cretton]]'s ''[[Shang-Chi and the Legend of the Ten Rings]]'', [[Denis Villeneuve]]'s ''[[Dune (2021 film)|Dune]]'', [[Chloé Zhao]]'s ''[[Eternals (film)|Eternals]]'' (all three titles shot with the Arri Alexa LF and Mini LF) and [[Joseph Kosinski]]'s ''[[Top Gun: Maverick]]'' (shot with the Sony CineAlta Venice) are among the first releases certified as 'Filmed in IMAX' through the new program.<ref name="filmed-in-IMAX"/><ref>{{cite press release|url=https://www.prnewswire.com/news-releases/imax-launches-new-filmed-in-imax-program-with-worlds-leading-digital-camera-brands-301133476.html|title=IMAX Launches New "Filmed In IMAX" Program With World's Leading Digital Camera Brands|website=Prnewswire.com|access-date=May 10, 2021}}</ref><ref>{{cite web |url=https://imaxcorporation.gcs-web.com/static-files/df6ff66b-4da5-4a95-8a4f-0a3b85ae7f5f |title=First Quarter 2021 Financial Results |publisher=IMAX Corporation |access-date=29 April 2021 |archive-date=29 April 2021 |archive-url=https://web.archive.org/web/20210429134907/https://imaxcorporation.gcs-web.com/static-files/df6ff66b-4da5-4a95-8a4f-0a3b85ae7f5f |url-status=live }}</ref>

Other films between 2022 and 2024 that are captured with IMAX-certified cameras are [[Sam Raimi]]'s ''[[Doctor Strange in the Multiverse of Madness]]'' (Shot with the Panavision Millennium DXL2), [[Taika Waititi]]'s ''[[Thor: Love and Thunder]]'' (shot with Arri Alexa LF and Mini LF), [[Ryan Coogler]]'s ''[[Black Panther: Wakanda Forever]]'' (shot with the Sony CineAlta Venice), [[Peyton Reed]]'s ''[[Ant-Man and the Wasp: Quantumania]]'' (Shot with the Arri Alexa LF and Mini LF), [[Michael B. Jordan]]'s ''[[Creed III]]'' (shot with the Sony CineAlta Venice), [[James Wan]]'s ''[[Aquaman and the Lost Kingdom]]'' (Shot with the Panavision Millennium DXL2), [[James Gunn]]'s ''[[Guardians of the Galaxy Vol. 3]]'' (Shot with the Red V-Raptor), [[Christopher McQuarrie]]'s ''[[Mission: Impossible – Dead Reckoning Part One]]'' (Shot with Arri Alexa LF, Mini LF and Sony CineAlta Venice), [[Nia DaCosta]]'s ''[[The Marvels]]'' (Shot with the Arri Alexa LF and Mini LF), [[Ángel Manuel Soto]]'s ''[[Blue Beetle (film)|Blue Beetle]]'', Denis Villeneuve's ''[[Dune: Part Two]]'' (shot with Arri Alexa LF and Mini LF).<ref name="comingsoon.net"/><ref>{{cite web |url=https://imaxcorporation.gcs-web.com/static-files/5e3bff76-ff8e-41f8-92fd-b5b13bf9b2c4 |title=Q1 2022 Financial Results |publisher=IMAX |date=April 28, 2022 |access-date=July 22, 2022}}</ref><ref>{{cite web|url=https://imaxcorporation.gcs-web.com/static-files/ecb96bbe-940b-49dd-9e67-ac6d1f171227|title=IMAX Q2 2022 Financial Results|format=PDF|date=July 2022}}</ref>

In March 2022, IMAX plans to develop new 15/70 cameras that would be created with input from filmmakers such as [[Jordan Peele]] and Christopher Nolan. The work will be done in collaboration with [[Kodak]], camera maker [[Panavision]], and post-production company and film lab [[FotoKem]]. The large format company is also consulting with leading cinematographers including [[Linus Sandgren]] (''[[No Time to Die]]''), [[Rachel Morrison]] (''[[Black Panther (film)|Black Panther]]''), [[Bradford Young]] (''[[Arrival (film)|Arrival]]''), [[Dan Mindel]] (''[[Star Trek (2009 film)|Star Trek]]'') and Nolan's go-to DP, [[Hoyte van Hoytema]]. Peele's 2022 film ''[[Nope (film)|Nope]]'' was filmed with the current generation of 15/70 IMAX cameras and Kodak 65mm film. IMAX intends to add at least four new 15/70mm cameras to its offing over the next two years, with the first new camera expected to be put into use by late 2023.<ref>{{cite web|url=https://www.hollywoodreporter.com/movies/movie-news/christopher-nolan-jordan-peele-imax-1235113253/|title=Christopher Nolan, Jordan Peele Among Filmmakers Working with Imax to Develop New Film Cameras|website=[[The Hollywood Reporter]]|date=March 17, 2022}}</ref>

In April 2022, it was announced that the 2022 [[Pixar]] animated film ''[[Lightyear (film)|Lightyear]]'' to have created a virtual IMAX camera in its production and the first 'animated' film to captured it. "We created a virtual IMAX camera with 1.43:1 aspect ratio and developed a pipeline to allow us to simultaneously shoot the film for IMAX, and then crop down for our standard 2.39:1 format," Jane Yen, Lightyear visual effects supervisor, revealed during a press conference. One of the two director's of photography Jeremy Lasky later said "I think this is the first that has been made for IMAX in this way. There's about a third of the film that was shot for IMAX. And the easy answer is that we have a set of lenses. And when I say lenses, I mean CG made". A set of lenses that recreate the look of an anamorphic lens, which is your typical wide screen. You'll notice things out of focus in the background instead of being round are like stretched a little bit. There's like that blue lens flare that you see. It's anamorphic lenses where the way to shoot wide screen in the sixties, seventies, and then later got phased out a little bit, but they're still used today. But those effects call to a period of sci-fi that we were looking at, which is why those same lenses or versions of those lenses were used on ''[[WALL-E]]''". Later he recommend "So for the 30 or so minutes of the movie in IMAX, we shot with those lenses opened up to the 1.43 aspect ratio and composed for that while keeping the composition as clear and as solid for a 2.39 crop from the center. So the wide screen image is pulled out of the IMAX image. Which all sounds really technical, but all it really means is, when you're watching it an IMAX screen, we were thinking about those scenes as IMAX. And it wasn't just some after the film was done, blow up of the movie".<ref>{{cite web |url=https://comicbook.com/movies/news/lightyear-imax-camera-pixar-toy-story/ | title=Pixar Created a Fully Virtual IMAX Camera to Shoot Lightyear }}</ref>

In December 2022, it was announced that IMAX have certified the Red V-Raptor as a new certified camera and that [[James Gunn]]'s ''[[Guardians of the Galaxy Vol. 3]]'' will be the first film to shoot with the cameras instead of the Red Ranger Monstro.<ref name="auto3"/>

Nolan's ''[[Oppenheimer (film)|Oppenheimer]]'' was also filmed with the current generation of 15/70mm IMAX cameras and Kodak 65&nbsp;mm film. It is also the first film to shoot sections in IMAX black and white [[analog photography]].<ref>{{cite web |last=Bergeson |first=Samantha |date=February 22, 2022 |title=''Oppenheimer'' First Look: Cillian Murphy Smolders in Christopher Nolan's Atomic Bomb Drama |url=https://www.indiewire.com/2022/02/oppenheimer-first-look-cillian-murphy-christopher-nolan-1234701254/ |access-date=February 22, 2022 |website=[[IndieWire]]}}</ref>

=== In space exploration ===
[[File:635715main 84HC188 full.jpg|thumb|STS 41-C mission specialist [[Terry Hart|Terry J. Hart]] holds a 70-pound IMAX camera in the mid-deck of the space shuttle ''[[Space Shuttle Challenger|Challenger]]'' in 1984.]]

IMAX cameras have flown in space on 17 occasions, [[NASA]] astronauts have used handheld IMAX cameras to document missions, and an IMAX camera has also been mounted in the payload bay of the Shuttle. Space shuttle mission [[STS-41-C]] filmed the deployment of the [[Long Duration Exposure Facility|LDEF]] (Long duration exposure facility) and the repair of the [[Solar Maximum Mission|Solar Max]] satellite. This footage was included in the 1985 IMAX movie ''[[The Dream Is Alive]]''. Kennedy Space Center in Florida has two IMAX 3D theaters. These show space movies, including footage shot on missions and narrated by celebrities.<ref>{{cite web|url=https://www.kennedyspacecenter.com/explore-attractions/nasa-now/imax-3d-theater|title=IMAX 3D Theater {{!}} Kennedy Space Center Visitor Complex|website=Kennedyspacecenter.com|language=en|access-date=2017-04-18}}</ref> Two of the IMAX cameras used by NASA are now on display at the [[National Air and Space Museum]] in [[Washington, D.C.|Washington DC]].<ref>{{Cite news|url=http://www.smithsonianmag.com/smithsonian-institution/the-space-shuttles-imax-cameras-touch-down-at-air-and-space-64290287/|title=The Space Shuttle's IMAX Cameras Touch Down at Air and Space|last=Stromberg|first=Joseph|work=Smithsonian|access-date=2017-04-18|language=en}}</ref>