Editing IMAX (section)

===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>