Dark Knight -amp- The Dark Knight Rises Imax 1.43-1 [updated]: Done- The
For decades, most Hollywood blockbusters were filmed and projected in a widescreen format, typically (often called Scope or Panavision). This rectangular shape is what you see in most standard multiplexes. It creates a wide, panoramic view that is excellent for sweeping landscapes.
When the keyword specifies it distinguishes itself from the inferior 1.90:1 ratio. While modern digital IMAX theaters (LieMAX) typically project in 1.90:1, the true 15/70mm IMAX theaters project in 1.43:1. For home media, having the 1.43:1 open matte versions means the viewer is getting the full image captured by the IMAX cameras, exposing visual information at the top and bottom of the frame that is cropped out in standard theatrical releases. The Dark Knight: The First of Its Kind When The Dark Knight was released in 2008, it was a watershed moment for cinema. While films had included IMAX sequences before, usually nature documentaries, no major narrative feature film had utilized IMAX cameras for significant portions of the movie. For decades, most Hollywood blockbusters were filmed and
Christopher Nolan and cinematographer Wally Pfister made the audacious choice to shoot roughly 30 minutes of the film using IMAX 70mm cameras. This was not just a gimmick; it was a narrative tool. In standard screenings (2.39:1), the film features black bars at the top and bottom of the screen. But in the IMAX versions (and the premium home releases labeled "DONE"), the picture expands vertically. When the keyword specifies it distinguishes itself from