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[music]

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>> When a movie is filmed for and projected

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in IMAX, the large format that you're

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watching isn't just about the size of

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the theater screen. It's also about the

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size of the image on the screen print.

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This is a single frame of IMAX 70 mm

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film. It runs horizontally through the

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projector and it's called 15 perf

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because there [music] are 15

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perforations on the film for every

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frame. This picture is almost 10 times

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the size [music]

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of that stored on a standard 35 mm frame

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which has the same [music] size

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perforations on the smaller film and has

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to share real estate with the soundtrack

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on the right. That's a difference in

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detail that I [music] can see with my

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naked eye both on the frame and when

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it's projected on a 90-ft tall film

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screen. Tested went to IMAX's LA

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headquarters to tour their vault of film

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prints and bed [music] with technicians

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splicing together reels heavier than me

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and larger than this table and visit the

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projection booth of their in-house

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theater [music]

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where some of the world's greatest

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directors come daily to review and sign

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off on their vision printed in film's

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largest [music] format.

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Greg, you you told me this is about 2

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and 1/2 minutes of film give or take?

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>> right. Um

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I was a projectionist in my youth and

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I'm just trying to wrap my head around

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the volume and weight. How do you guys

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handle something as simple as like

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dailies or or post-production?

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>> Well, we have a team that does that and

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which you'll meet in a second. And so we

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take this large roll film. This actually

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is not as big as some.

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They go up to 1,000 even bigger than

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that. They all get assembled onto the

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rewind on on a larger reel through the

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rewind bench and they get spliced and

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and we wheel them out there which you'll

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see as well. Yeah.

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>> Okay, let's let's let's walk through

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this process. Okay.

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All right Adam, so this is print

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assembly. All right, so this is where

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heavy things get assembled into heavier

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things

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>> [laughter]

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>> and then eventually they leave.

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>> Yes. God, the the volume of it is just

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staggering.

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>> Yeah, yeah, we have a lot of stations

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here, a lot of work gets done. Irving

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has a group of two so three all together

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in print assembly. How many platters are

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you processing out of this room in a

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day?

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>> It It really depends. I mean generally

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they're working on one at a time. It

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really depends if we have multiple

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titles happening at the same time. In

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this case we have one film that that is

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getting plattered up for a screening

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this afternoon and it's basically a

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bunch of film out reels that are are

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processed and printed at FotoKem and

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we're going to show them here at our

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theater. It's amazing. I mean I remember

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my rewind table at the theater was like

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the size of a thing. This is the size of

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my first apartment in New York.

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>> Yes, these are custom. There's one of

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one and they're very old but they work.

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Amazing. Hey Irving. How are you? Good

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to see you. So you have been here for 33

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years?

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>> Yes, I am. Is it safe to say that you

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have touched almost every print that's

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come out of here? I would say yes. Okay,

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so walk me through walk me through what

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happens here. Usually when they start a

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production they go with making dailies

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and every daily that is made we

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come to this place then it's get to be a

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screen review, make sure that there is

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no scratches, that physically look okay.

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Because scratches can happen in the

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camera and the negatives or it can

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happen in printing in the lab. So you

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want to make sure that everything is

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okay. Also everything that we had a

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screen we keep a record. So we had like

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records in 1980s.

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Yeah. We keep all those records. Every

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single roll that have been

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screened they keep a record and we keep

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it on So every last thing that's come

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through here is chronicled. Yes.

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>> Okay. And right now we're working in a

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project a demo and I'm going to pull um

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There is different play different

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pictures they're making from different

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parts of the movies Yeah. and right now

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we are trying trying to put a

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a portion of that movie and put it

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together like a puzzle and then that's

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what we're going to do right now. I'm

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looking for a specific scene.

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Can I help? Uh you can try it if you

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feel comfortable.

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>> [laughter]

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>> But we just going to roll it. This was

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built like a

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a month ago. Okay. And probably it was

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made with a

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It was make a

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You have probably a hundred scenes

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inside this. Okay, so this is our daily

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reel with like a hundred scenes in it.

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Yes and then we're going to look for the

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specific one that they need right now.

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But they they just give us we need this

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and we have to find it in all of this.

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You have to go through this and figure

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out where it is. Okay. And usually

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that's why we are trying to keep this

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kind of list so they will give me an

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idea where they are.

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>> Amazing.

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>> Cuz otherwise you will be impossible to

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find it. And after that the piece that

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we're going to find there is going to go

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into this little roll and from that roll

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we're going to take a portion of the

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same material and go into the demo that

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they need to screen tomorrow actually.

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And this is like an

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old tape machine. Remember when you push

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the cassette tape and you play move this

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way or move that way? Yeah, yeah.

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Oh, that's what it is. Okay. So this one

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will if I want to push over there, move

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over there just press this one or if I

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want to go the other way, go that way

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and stop and

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and it's very simple. And this are only

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tension you know because you need it's a

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lot of you need tension and these are

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the speed control which is how one here

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one here is the same one the same

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control. And

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I've been here for more than

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35 years so

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>> These have been here longer than you.

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>> Yes. Okay.

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But this one is say that start from

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chapter 78 to 101 which is

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what we got here. Okay, so now you go

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find that.

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>> 78 cuz it start 78 and then I'm going to

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go all the way. It start from one but

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But that means that all of these have

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already been left in file.

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>> a different platters.

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>> Got you.

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Cuz

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you cannot this platters only can hold

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like a one hour platter and sometime we

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had a screening of two hours plus so we

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need to build into small platters like

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this and then take it to whatever we

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need to screen. That's the small

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platter. Uh this is the regular platter

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45 inch platter. Okay. The this is the

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standard for most of the films.

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>> Got you. But a big movie two hours and a

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half movie will go in three of this.

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And then you build it into one platter

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in whatever theater you go. Yes.

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I find myself wondering if there's a

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machine shop somewhere in the world that

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just makes these. I mean maybe there's

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more than one but I mean it's got to be

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a pretty bespoke business.

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Look at that.

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Wow.

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So here we are putting tension on this

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side so it will not wind loose to this.

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So we're

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and then you have clutches that so it

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can allow the engine to engage to the

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platter and it can rotate.

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So this one we're going to go that way

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which is ready there.

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I just help a little bit.

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And because you cannot go see [snorts]

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it doesn't have no number no nothing we

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just You just scroll and then you go

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hunt for it.

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>> Yes. But you know that it's probably

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right around

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>> Somewhere there. Yeah, cuz this is This

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have 100 shots

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but it's starting from shot 78 so

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probably somewhere in here.

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Holy cow.

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It really is sort of blowing my mind

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just the sheer weight, the sheer volume

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of plastic and aluminum required to move

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these pieces and prints around. Um this

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is less than an hour of film

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but at such a resolution that it weighs,

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you know, dozens and dozens of pounds.

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It's amazing. It's like it's like the

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single heaviest component of flying an

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airplane is its fuel. Like you don't

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really think about that but it really is

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like most of managing an airplane's

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weight is about managing the weight of

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its fuel. And for some reason that seems

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to me to have some parity to like if you

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want the best the most the sharpest film

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format, well it's it's going to get

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heavy. It's going to get heavy in a

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hurry.

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That's the splice, yeah?

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>> Yeah, that's the tape.

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>> have a cutter that cuts that Yes and

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this is the one that does that.

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Oh, oh so is that the difference between

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this splicer and that splicer? This one

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does the zigzag splice. This one does

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the zigzag so you can pull it apart and

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put it back like a puzzle but this one

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once you do one of those because it's

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well kind of welded

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so you cannot pull it apart. If you pull

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it apart you cannot put it back

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together. So this is for like final

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assembly?

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>> Yes. And this is for temporary assembly.

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Got you.

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Okay, so we're in part of the projection

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room here.

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>> We are. We are below it.

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>> Okay. [laughter] Yeah. Um can can I

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help? Can I help put load this? Oh,

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amazing. Okay. So now we're lifting the

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platter up onto the Mark

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reel unit.

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Okay, now we're going to lock it in. Ah,

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okay.

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>> Got to be careful like and also we have

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the screws. If you could pass me this

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one.

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>> [snorts]

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>> And I just got tight there.

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>> all right.

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Now,

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this is going up to the projector.

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And so we need a lot of free that leader

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and we're going to spool a lot of it.

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So we go cuz the projectors are in the

273
00:10:24,639 --> 00:10:28,559
second floor. So you see it's going to

274
00:10:26,559 --> 00:10:30,879
travel from here all the way up and then

275
00:10:28,559 --> 00:10:33,039
coming down. So it's not going to be the

276
00:10:30,879 --> 00:10:34,639
actual movie. It's just leader. Right,

277
00:10:33,039 --> 00:10:36,159
right, right. So this is all just blank

278
00:10:34,639 --> 00:10:37,600
film, but it's going to travel all the

279
00:10:36,159 --> 00:10:38,679
way up where that rope's going through

280
00:10:37,600 --> 00:10:40,120
the hole? Yes.

281
00:10:38,679 --> 00:10:41,799
>> Because because all the work is done

282
00:10:40,120 --> 00:10:43,720
down here and all the heavy lifting

283
00:10:41,799 --> 00:10:45,559
comes down on the first floor. There's

284
00:10:43,720 --> 00:10:47,040
there was no real way to get these into

285
00:10:45,559 --> 00:10:49,559
the booth as you'll see when we go up

286
00:10:47,039 --> 00:10:51,159
there. So the weight of this means that

287
00:10:49,559 --> 00:10:53,159
architecturally

288
00:10:51,159 --> 00:10:53,719
this is an accommodation because of how

289
00:10:53,159 --> 00:10:55,480
heavy these are.

290
00:10:53,720 --> 00:10:56,600
>> It is and it might seem crazy like why

291
00:10:55,480 --> 00:10:58,039
would you invent something like that,

292
00:10:56,600 --> 00:10:59,680
but it works. Amazing.

293
00:10:58,039 --> 00:11:01,759
>> Yeah. You guys must now have some

294
00:10:59,679 --> 00:11:04,799
intense HVAC here because I would

295
00:11:01,759 --> 00:11:05,879
imagine small amounts of dust can damage

296
00:11:04,799 --> 00:11:08,120
this print over time.

297
00:11:05,879 --> 00:11:08,919
>> Yeah, it's it's not as big a deal as it

298
00:11:08,120 --> 00:11:09,480
is with negative.

299
00:11:08,919 --> 00:11:11,079
>> Of course.

300
00:11:09,480 --> 00:11:12,440
>> And we have special rollers too that

301
00:11:11,080 --> 00:11:13,960
help make sure that that everything's

302
00:11:12,440 --> 00:11:15,760
clean before it goes into the projector.

303
00:11:13,960 --> 00:11:17,800
Incredible. Yeah.

304
00:11:15,759 --> 00:11:21,480
Okay, so that's a lot of film he just

305
00:11:17,799 --> 00:11:22,919
wound up there. Oh, look at that.

306
00:11:21,480 --> 00:11:25,200
Yeah, how many feet Irving do you have

307
00:11:22,919 --> 00:11:28,199
of of leader on the head?

308
00:11:25,200 --> 00:11:31,040
I don't know, probably like 100 ft.

309
00:11:28,200 --> 00:11:31,040
Wow.

310
00:11:32,000 --> 00:11:38,080
IMAX film is 337 ft per minute. So

311
00:11:34,839 --> 00:11:41,320
that's just over you know, 20 seconds of

312
00:11:38,080 --> 00:11:45,400
of of leader, right? Wow.

313
00:11:41,320 --> 00:11:47,440
330 and 35 mm is like 90 ft per Yeah.

314
00:11:45,399 --> 00:11:50,759
Yeah. [laughter]

315
00:11:47,440 --> 00:11:53,200
Right, an hour is a mile in 35 mm.

316
00:11:50,759 --> 00:11:55,519
Oh my god, the cable carries the film

317
00:11:53,200 --> 00:11:55,520
up.

318
00:12:02,360 --> 00:12:06,600
Okay, now we're going to walk up Okay.

319
00:12:04,720 --> 00:12:08,080
>> and pull this so we can continue.

320
00:12:06,600 --> 00:12:10,240
>> Okay, so you go up there and pull it.

321
00:12:08,080 --> 00:12:11,680
You don't just We just go like fishing.

322
00:12:10,240 --> 00:12:13,399
We kind of

323
00:12:11,679 --> 00:12:15,079
I'm sort of I'm still wrapping my head

324
00:12:13,399 --> 00:12:16,559
around the fact that this travels 30 ft

325
00:12:15,080 --> 00:12:17,360
into the ceiling to get to the

326
00:12:16,559 --> 00:12:18,879
projector.

327
00:12:17,360 --> 00:12:20,519
>> Yeah, yeah, it does. And then it has to

328
00:12:18,879 --> 00:12:22,000
come back down.

329
00:12:20,519 --> 00:12:24,319
Oh my god, of course it does.

330
00:12:22,000 --> 00:12:26,159
>> Yes. So it travels another 30 ft back

331
00:12:24,320 --> 00:12:29,000
down to get the the take-up reel, which

332
00:12:26,159 --> 00:12:32,799
is of course it's there.

333
00:12:29,000 --> 00:12:35,399
>> That's insane. I love that that works.

334
00:12:32,799 --> 00:12:37,479
It is amazing. For 3D movies is it

335
00:12:35,399 --> 00:12:39,120
double this? It is double this. Yeah, we

336
00:12:37,480 --> 00:12:41,680
actually have a whole other Mark II

337
00:12:39,120 --> 00:12:42,960
assembly uh platter system over there.

338
00:12:41,679 --> 00:12:44,120
And if you notice there's plat there's

339
00:12:42,960 --> 00:12:46,120
there's these little pulleys that go

340
00:12:44,120 --> 00:12:47,879
over your head. And so we actually have

341
00:12:46,120 --> 00:12:49,120
two sets that can go up there for left

342
00:12:47,879 --> 00:12:53,159
eye and right eye film projector.

343
00:12:49,120 --> 00:12:55,360
>> Oh my god, two separate gigantic prints

344
00:12:53,159 --> 00:12:57,679
for left eye and right eye. Yes.

345
00:12:55,360 --> 00:12:59,639
Amazing. Just to give you a sense of the

346
00:12:57,679 --> 00:13:02,120
size of this. This is a roughly

347
00:12:59,639 --> 00:13:04,759
hour-long reel and loaded with film

348
00:13:02,120 --> 00:13:07,679
weighs about 300 lb.

349
00:13:04,759 --> 00:13:10,600
This is a 68-in reel holds just shy of 3

350
00:13:07,679 --> 00:13:12,399
hours, weighs almost 600 lb and this is

351
00:13:10,600 --> 00:13:15,000
not their biggest reel. This is their

352
00:13:12,399 --> 00:13:16,240
second biggest reel.

353
00:13:15,000 --> 00:13:19,764
Crazy.

354
00:13:16,240 --> 00:13:21,783
I'm only a tiny bit taller than this.

355
00:13:19,764 --> 00:13:21,783
>> [music]

356
00:13:23,799 --> 00:13:27,719
>> So here's Yvon with the film that came

357
00:13:25,919 --> 00:13:30,039
from below.

358
00:13:27,720 --> 00:13:31,560
I just love that these are bolted to the

359
00:13:30,039 --> 00:13:34,480
the engineering in me thinks this

360
00:13:31,559 --> 00:13:36,159
shouldn't be possible, but it's perfect.

361
00:13:34,480 --> 00:13:38,399
Okay, so what's the next step for this

362
00:13:36,159 --> 00:13:42,279
to get into the projector? So he's going

363
00:13:38,399 --> 00:13:42,279
to go through that hole. Okay.

364
00:13:46,839 --> 00:13:50,880
And we're going to be using that film

365
00:13:48,279 --> 00:13:50,879
projector.

366
00:13:54,480 --> 00:13:58,720
Wow.

367
00:13:56,839 --> 00:13:59,120
So this is the David Keighley theater

368
00:13:58,720 --> 00:14:00,920
booth.

369
00:13:59,120 --> 00:14:03,720
>> Got you. And we have three sets of

370
00:14:00,919 --> 00:14:06,039
projectors, one film and two digital.

371
00:14:03,720 --> 00:14:06,720
Okay, so that's a set of film

372
00:14:06,039 --> 00:14:08,799
projectors.

373
00:14:06,720 --> 00:14:10,320
>> Yes. A set of digital projectors and

374
00:14:08,799 --> 00:14:12,399
another digital projector.

375
00:14:10,320 --> 00:14:14,160
>> And they're all on a rail system that

376
00:14:12,399 --> 00:14:15,600
allows us to basically prep for a

377
00:14:14,159 --> 00:14:17,879
session. So we might have a digital

378
00:14:15,600 --> 00:14:19,720
session 10 minutes ago, it wraps and

379
00:14:17,879 --> 00:14:21,720
then we have to basically go right into

380
00:14:19,720 --> 00:14:23,920
film. So they can prep all this and load

381
00:14:21,720 --> 00:14:25,600
it all up and then slide it over in

382
00:14:23,919 --> 00:14:27,559
literally 5 minutes we're operating on

383
00:14:25,600 --> 00:14:29,879
film. Amazing. And is the reason there's

384
00:14:27,559 --> 00:14:32,519
two digital projectors is for stereo

385
00:14:29,879 --> 00:14:34,399
projection? Yes, and and also to get the

386
00:14:32,519 --> 00:14:36,799
power we need on the screen. That's our

387
00:14:34,399 --> 00:14:39,480
GT digital projection system. So you

388
00:14:36,799 --> 00:14:40,719
double it? Yeah, it's it's full 143. In

389
00:14:39,480 --> 00:14:42,800
fact, every morning we have a

390
00:14:40,720 --> 00:14:44,600
calibration system. Anytime these

391
00:14:42,799 --> 00:14:46,599
projectors move, we have an auto

392
00:14:44,600 --> 00:14:49,040
calibration system that converges the

393
00:14:46,600 --> 00:14:50,800
two projectors. Wow. And so you're

394
00:14:49,039 --> 00:14:52,279
putting one image on top of the other to

395
00:14:50,799 --> 00:14:53,359
get the maximum amount of brightness

396
00:14:52,279 --> 00:14:54,759
from the digital projector.

397
00:14:53,360 --> 00:14:57,680
>> Yes. This is the only way to achieve

398
00:14:54,759 --> 00:14:59,799
full 143 digital projection in IMAX. So

399
00:14:57,679 --> 00:15:01,120
even though he is spooling the film into

400
00:14:59,799 --> 00:15:02,719
the film projector, that projector is

401
00:15:01,120 --> 00:15:03,639
still going to move into its final

402
00:15:02,720 --> 00:15:05,360
position.

403
00:15:03,639 --> 00:15:08,240
>> And this rig can accommodate that.

404
00:15:05,360 --> 00:15:10,480
>> Absolutely. Again, the engineer in me is

405
00:15:08,240 --> 00:15:13,200
like this shouldn't really work. It

406
00:15:10,480 --> 00:15:15,120
shouldn't, but it does.

407
00:15:13,200 --> 00:15:17,360
All right, and then it's coming back.

408
00:15:15,120 --> 00:15:19,560
>> That's right. This is the return trip.

409
00:15:17,360 --> 00:15:20,120
Through the same hole. Right, cuz left

410
00:15:19,559 --> 00:15:23,838
eye, right eye.

411
00:15:20,120 --> 00:15:23,839
>> Right, right, right. Going fishing.

412
00:15:24,039 --> 00:15:27,879
Yeah, and here's the the film projector

413
00:15:25,839 --> 00:15:30,480
is going into place. You can run both

414
00:15:27,879 --> 00:15:32,679
these projectors if you're doing 3D, but

415
00:15:30,480 --> 00:15:34,079
also if you're doing a rollover. So

416
00:15:32,679 --> 00:15:36,399
basically if you're going to transfer

417
00:15:34,078 --> 00:15:38,639
over from one to the ever other. If he

418
00:15:36,399 --> 00:15:40,799
had let's say two different reels that

419
00:15:38,639 --> 00:15:42,120
we needed to go from one to the other,

420
00:15:40,799 --> 00:15:43,639
we could go into that mode.

421
00:15:42,120 --> 00:15:45,039
>> So they don't you don't have little burn

422
00:15:43,639 --> 00:15:45,600
holes in the corner of the

423
00:15:45,039 --> 00:15:46,919
>> Yeah,

424
00:15:45,600 --> 00:15:47,720
cuz the first one

425
00:15:46,919 --> 00:15:49,559
and the second one

426
00:15:47,720 --> 00:15:50,839
>> Yeah, totally. You don't do that. How do

427
00:15:49,559 --> 00:15:52,119
you know when to do the changeover?

428
00:15:50,839 --> 00:15:52,680
>> Because we're not doing it for final

429
00:15:52,120 --> 00:15:53,159
product.

430
00:15:52,679 --> 00:15:54,679
>> Okay.

431
00:15:53,159 --> 00:15:56,000
>> Yeah, so they'll basically just change

432
00:15:54,679 --> 00:15:58,039
over to the other one when we need to.

433
00:15:56,000 --> 00:16:00,399
But it's all it's all in sync. Even our

434
00:15:58,039 --> 00:16:03,719
sound. Our sound is basically a digital

435
00:16:00,399 --> 00:16:06,120
track that goes in on an optical disc

436
00:16:03,720 --> 00:16:07,839
and we we ingest it into a hard drive

437
00:16:06,120 --> 00:16:09,799
system. And it syncs up with that.

438
00:16:07,839 --> 00:16:11,480
>> It syncs up with the with the film,

439
00:16:09,799 --> 00:16:14,240
exactly.

440
00:16:11,480 --> 00:16:16,159
Similar to the DTS system. Got you. All

441
00:16:14,240 --> 00:16:18,581
right, so this is the business end of

442
00:16:16,159 --> 00:16:20,279
the process we just watched. A director

443
00:16:18,581 --> 00:16:22,680
[music] who is working on a film with

444
00:16:20,279 --> 00:16:25,559
IMAX is coming in in a few minutes to

445
00:16:22,679 --> 00:16:27,639
watch some dailies of their film. We

446
00:16:25,559 --> 00:16:29,715
can't tell you what it is, but it's now

447
00:16:27,639 --> 00:16:34,120
been spooled into this projector and

448
00:16:29,716 --> 00:16:35,799
[music] it's about to be projected. I am

449
00:16:34,120 --> 00:16:38,480
Everything about [music] this process is

450
00:16:35,799 --> 00:16:40,279
sort of gargantuan and incredible to me

451
00:16:38,480 --> 00:16:41,959
and I can only imagine how thrilling it

452
00:16:40,279 --> 00:16:44,799
is for that director [music]

453
00:16:41,958 --> 00:16:47,400
to see their footage in such a format.

454
00:16:44,799 --> 00:16:49,420
It's got to be intoxicating.

455
00:16:47,400 --> 00:16:49,420
>> [music]

456
00:16:55,916 --> 00:16:57,936
[music]

457
00:17:09,671 --> 00:17:11,691
[music]