WEBVTT 00:00:00.654 --> 00:00:02.673 [music] 00:00:05.080 --> 00:00:09.440 >> When a movie is filmed for and projected 00:00:07.000 --> 00:00:11.480 in IMAX, the large format that you're 00:00:09.439 --> 00:00:13.399 watching isn't just about the size of 00:00:11.480 --> 00:00:16.839 the theater screen. It's also about the 00:00:13.400 --> 00:00:19.800 size of the image on the screen print. 00:00:16.839 --> 00:00:21.800 This is a single frame of IMAX 70 mm 00:00:19.800 --> 00:00:23.920 film. It runs horizontally through the 00:00:21.800 --> 00:00:24.880 projector and it's called 15 perf 00:00:23.920 --> 00:00:26.600 because there [music] are 15 00:00:24.879 --> 00:00:29.839 perforations on the film for every 00:00:26.600 --> 00:00:30.720 frame. This picture is almost 10 times 00:00:29.839 --> 00:00:34.039 the size [music] 00:00:30.719 --> 00:00:35.159 of that stored on a standard 35 mm frame 00:00:34.039 --> 00:00:36.920 which has the same [music] size 00:00:35.159 --> 00:00:38.759 perforations on the smaller film and has 00:00:36.920 --> 00:00:40.600 to share real estate with the soundtrack 00:00:38.759 --> 00:00:42.079 on the right. That's a difference in 00:00:40.600 --> 00:00:44.439 detail that I [music] can see with my 00:00:42.079 --> 00:00:46.679 naked eye both on the frame and when 00:00:44.439 --> 00:00:48.839 it's projected on a 90-ft tall film 00:00:46.679 --> 00:00:50.719 screen. Tested went to IMAX's LA 00:00:48.840 --> 00:00:52.720 headquarters to tour their vault of film 00:00:50.719 --> 00:00:54.960 prints and bed [music] with technicians 00:00:52.719 --> 00:00:57.399 splicing together reels heavier than me 00:00:54.960 --> 00:00:58.840 and larger than this table and visit the 00:00:57.399 --> 00:00:59.679 projection booth of their in-house 00:00:58.840 --> 00:01:00.680 theater [music] 00:00:59.679 --> 00:01:03.039 where some of the world's greatest 00:01:00.679 --> 00:01:05.239 directors come daily to review and sign 00:01:03.039 --> 00:01:07.760 off on their vision printed in film's 00:01:05.239 --> 00:01:09.560 largest [music] format. 00:01:07.760 --> 00:01:11.359 Greg, you you told me this is about 2 00:01:09.560 --> 00:01:13.320 and 1/2 minutes of film give or take? 00:01:11.359 --> 00:01:15.359 >> right. Um 00:01:13.319 --> 00:01:17.279 I was a projectionist in my youth and 00:01:15.359 --> 00:01:19.959 I'm just trying to wrap my head around 00:01:17.280 --> 00:01:21.599 the volume and weight. How do you guys 00:01:19.959 --> 00:01:23.759 handle something as simple as like 00:01:21.599 --> 00:01:25.399 dailies or or post-production? 00:01:23.760 --> 00:01:27.680 >> Well, we have a team that does that and 00:01:25.400 --> 00:01:30.400 which you'll meet in a second. And so we 00:01:27.680 --> 00:01:31.920 take this large roll film. This actually 00:01:30.400 --> 00:01:33.680 is not as big as some. 00:01:31.920 --> 00:01:36.120 They go up to 1,000 even bigger than 00:01:33.680 --> 00:01:38.160 that. They all get assembled onto the 00:01:36.120 --> 00:01:41.719 rewind on on a larger reel through the 00:01:38.159 --> 00:01:43.000 rewind bench and they get spliced and 00:01:41.719 --> 00:01:43.760 and we wheel them out there which you'll 00:01:43.000 --> 00:01:45.599 see as well. Yeah. 00:01:43.760 --> 00:01:48.000 >> Okay, let's let's let's walk through 00:01:45.599 --> 00:01:49.239 this process. Okay. 00:01:48.000 --> 00:01:50.680 All right Adam, so this is print 00:01:49.239 --> 00:01:52.640 assembly. All right, so this is where 00:01:50.680 --> 00:01:53.316 heavy things get assembled into heavier 00:01:52.640 --> 00:01:53.439 things 00:01:53.316 --> 00:01:55.200 >> [laughter] 00:01:53.439 --> 00:01:58.159 >> and then eventually they leave. 00:01:55.200 --> 00:01:59.040 >> Yes. God, the the volume of it is just 00:01:58.159 --> 00:02:00.640 staggering. 00:01:59.040 --> 00:02:02.280 >> Yeah, yeah, we have a lot of stations 00:02:00.640 --> 00:02:04.280 here, a lot of work gets done. Irving 00:02:02.280 --> 00:02:05.920 has a group of two so three all together 00:02:04.280 --> 00:02:07.439 in print assembly. How many platters are 00:02:05.920 --> 00:02:07.760 you processing out of this room in a 00:02:07.439 --> 00:02:09.399 day? 00:02:07.760 --> 00:02:10.800 >> It It really depends. I mean generally 00:02:09.399 --> 00:02:12.039 they're working on one at a time. It 00:02:10.800 --> 00:02:13.760 really depends if we have multiple 00:02:12.039 --> 00:02:16.239 titles happening at the same time. In 00:02:13.759 --> 00:02:17.519 this case we have one film that that is 00:02:16.240 --> 00:02:19.360 getting plattered up for a screening 00:02:17.520 --> 00:02:21.159 this afternoon and it's basically a 00:02:19.360 --> 00:02:23.240 bunch of film out reels that are are 00:02:21.159 --> 00:02:24.159 processed and printed at FotoKem and 00:02:23.240 --> 00:02:26.040 we're going to show them here at our 00:02:24.159 --> 00:02:28.319 theater. It's amazing. I mean I remember 00:02:26.039 --> 00:02:29.919 my rewind table at the theater was like 00:02:28.319 --> 00:02:31.479 the size of a thing. This is the size of 00:02:29.919 --> 00:02:33.079 my first apartment in New York. 00:02:31.479 --> 00:02:35.919 >> Yes, these are custom. There's one of 00:02:33.080 --> 00:02:38.800 one and they're very old but they work. 00:02:35.919 --> 00:02:41.519 Amazing. Hey Irving. How are you? Good 00:02:38.800 --> 00:02:42.080 to see you. So you have been here for 33 00:02:41.520 --> 00:02:43.920 years? 00:02:42.080 --> 00:02:46.080 >> Yes, I am. Is it safe to say that you 00:02:43.919 --> 00:02:48.839 have touched almost every print that's 00:02:46.080 --> 00:02:50.680 come out of here? I would say yes. Okay, 00:02:48.840 --> 00:02:52.879 so walk me through walk me through what 00:02:50.680 --> 00:02:55.920 happens here. Usually when they start a 00:02:52.879 --> 00:02:59.159 production they go with making dailies 00:02:55.919 --> 00:03:01.319 and every daily that is made we 00:02:59.159 --> 00:03:03.879 come to this place then it's get to be a 00:03:01.319 --> 00:03:06.400 screen review, make sure that there is 00:03:03.879 --> 00:03:08.240 no scratches, that physically look okay. 00:03:06.400 --> 00:03:10.400 Because scratches can happen in the 00:03:08.240 --> 00:03:12.760 camera and the negatives or it can 00:03:10.400 --> 00:03:14.120 happen in printing in the lab. So you 00:03:12.759 --> 00:03:17.359 want to make sure that everything is 00:03:14.120 --> 00:03:20.879 okay. Also everything that we had a 00:03:17.360 --> 00:03:24.040 screen we keep a record. So we had like 00:03:20.879 --> 00:03:26.039 records in 1980s. 00:03:24.039 --> 00:03:27.759 Yeah. We keep all those records. Every 00:03:26.039 --> 00:03:30.159 single roll that have been 00:03:27.759 --> 00:03:32.039 screened they keep a record and we keep 00:03:30.159 --> 00:03:33.799 it on So every last thing that's come 00:03:32.039 --> 00:03:37.199 through here is chronicled. Yes. 00:03:33.800 --> 00:03:42.080 >> Okay. And right now we're working in a 00:03:37.199 --> 00:03:44.239 project a demo and I'm going to pull um 00:03:42.080 --> 00:03:47.080 There is different play different 00:03:44.240 --> 00:03:49.560 pictures they're making from different 00:03:47.080 --> 00:03:52.280 parts of the movies Yeah. and right now 00:03:49.560 --> 00:03:54.800 we are trying trying to put a 00:03:52.280 --> 00:03:57.120 a portion of that movie and put it 00:03:54.800 --> 00:03:58.120 together like a puzzle and then that's 00:03:57.120 --> 00:04:01.680 what we're going to do right now. I'm 00:03:58.120 --> 00:04:04.439 looking for a specific scene. 00:04:01.680 --> 00:04:05.627 Can I help? Uh you can try it if you 00:04:04.439 --> 00:04:07.199 feel comfortable. 00:04:05.627 --> 00:04:09.040 >> [laughter] 00:04:07.199 --> 00:04:11.439 >> But we just going to roll it. This was 00:04:09.039 --> 00:04:14.479 built like a 00:04:11.439 --> 00:04:17.358 a month ago. Okay. And probably it was 00:04:14.479 --> 00:04:20.639 made with a 00:04:17.358 --> 00:04:20.639 It was make a 00:04:22.000 --> 00:04:25.839 You have probably a hundred scenes 00:04:23.680 --> 00:04:27.480 inside this. Okay, so this is our daily 00:04:25.839 --> 00:04:29.199 reel with like a hundred scenes in it. 00:04:27.480 --> 00:04:31.720 Yes and then we're going to look for the 00:04:29.199 --> 00:04:34.120 specific one that they need right now. 00:04:31.720 --> 00:04:36.720 But they they just give us we need this 00:04:34.120 --> 00:04:38.160 and we have to find it in all of this. 00:04:36.720 --> 00:04:39.760 You have to go through this and figure 00:04:38.160 --> 00:04:41.200 out where it is. Okay. And usually 00:04:39.759 --> 00:04:43.759 that's why we are trying to keep this 00:04:41.199 --> 00:04:45.079 kind of list so they will give me an 00:04:43.759 --> 00:04:45.639 idea where they are. 00:04:45.079 --> 00:04:47.639 >> Amazing. 00:04:45.639 --> 00:04:50.079 >> Cuz otherwise you will be impossible to 00:04:47.639 --> 00:04:51.959 find it. And after that the piece that 00:04:50.079 --> 00:04:54.639 we're going to find there is going to go 00:04:51.959 --> 00:04:56.879 into this little roll and from that roll 00:04:54.639 --> 00:04:59.599 we're going to take a portion of the 00:04:56.879 --> 00:05:03.759 same material and go into the demo that 00:04:59.600 --> 00:05:03.760 they need to screen tomorrow actually. 00:05:17.279 --> 00:05:21.279 And this is like an 00:05:18.959 --> 00:05:23.399 old tape machine. Remember when you push 00:05:21.279 --> 00:05:25.000 the cassette tape and you play move this 00:05:23.399 --> 00:05:27.039 way or move that way? Yeah, yeah. 00:05:25.000 --> 00:05:29.399 Oh, that's what it is. Okay. So this one 00:05:27.040 --> 00:05:31.720 will if I want to push over there, move 00:05:29.399 --> 00:05:33.319 over there just press this one or if I 00:05:31.720 --> 00:05:35.120 want to go the other way, go that way 00:05:33.319 --> 00:05:37.680 and stop and 00:05:35.120 --> 00:05:39.720 and it's very simple. And this are only 00:05:37.680 --> 00:05:41.360 tension you know because you need it's a 00:05:39.720 --> 00:05:43.600 lot of you need tension and these are 00:05:41.360 --> 00:05:45.120 the speed control which is how one here 00:05:43.600 --> 00:05:47.160 one here is the same one the same 00:05:45.120 --> 00:05:49.600 control. And 00:05:47.160 --> 00:05:50.840 I've been here for more than 00:05:49.600 --> 00:05:51.960 35 years so 00:05:50.839 --> 00:05:54.879 >> These have been here longer than you. 00:05:51.959 --> 00:05:54.879 >> Yes. Okay. 00:05:55.680 --> 00:06:01.000 But this one is say that start from 00:05:57.800 --> 00:06:03.280 chapter 78 to 101 which is 00:06:01.000 --> 00:06:03.759 what we got here. Okay, so now you go 00:06:03.279 --> 00:06:06.719 find that. 00:06:03.759 --> 00:06:09.039 >> 78 cuz it start 78 and then I'm going to 00:06:06.720 --> 00:06:10.120 go all the way. It start from one but 00:06:09.040 --> 00:06:11.960 But that means that all of these have 00:06:10.120 --> 00:06:12.959 already been left in file. 00:06:11.959 --> 00:06:14.159 >> a different platters. 00:06:12.959 --> 00:06:15.000 >> Got you. 00:06:14.160 --> 00:06:17.240 Cuz 00:06:15.000 --> 00:06:19.480 you cannot this platters only can hold 00:06:17.240 --> 00:06:22.120 like a one hour platter and sometime we 00:06:19.480 --> 00:06:23.759 had a screening of two hours plus so we 00:06:22.120 --> 00:06:26.079 need to build into small platters like 00:06:23.759 --> 00:06:28.159 this and then take it to whatever we 00:06:26.079 --> 00:06:31.199 need to screen. That's the small 00:06:28.160 --> 00:06:33.800 platter. Uh this is the regular platter 00:06:31.199 --> 00:06:35.439 45 inch platter. Okay. The this is the 00:06:33.800 --> 00:06:37.759 standard for most of the films. 00:06:35.439 --> 00:06:41.079 >> Got you. But a big movie two hours and a 00:06:37.759 --> 00:06:43.560 half movie will go in three of this. 00:06:41.079 --> 00:06:47.399 And then you build it into one platter 00:06:43.560 --> 00:06:47.399 in whatever theater you go. Yes. 00:07:01.759 --> 00:07:05.120 I find myself wondering if there's a 00:07:03.240 --> 00:07:07.280 machine shop somewhere in the world that 00:07:05.120 --> 00:07:09.439 just makes these. I mean maybe there's 00:07:07.279 --> 00:07:12.239 more than one but I mean it's got to be 00:07:09.439 --> 00:07:14.680 a pretty bespoke business. 00:07:12.240 --> 00:07:14.680 Look at that. 00:07:15.040 --> 00:07:17.920 Wow. 00:07:24.360 --> 00:07:29.680 So here we are putting tension on this 00:07:26.759 --> 00:07:30.519 side so it will not wind loose to this. 00:07:29.680 --> 00:07:32.319 So we're 00:07:30.519 --> 00:07:35.359 and then you have clutches that so it 00:07:32.319 --> 00:07:37.599 can allow the engine to engage to the 00:07:35.360 --> 00:07:39.759 platter and it can rotate. 00:07:37.600 --> 00:07:43.240 So this one we're going to go that way 00:07:39.759 --> 00:07:43.240 which is ready there. 00:07:44.079 --> 00:07:47.319 I just help a little bit. 00:07:49.480 --> 00:07:52.879 And because you cannot go see [snorts] 00:07:50.959 --> 00:07:54.799 it doesn't have no number no nothing we 00:07:52.879 --> 00:07:55.480 just You just scroll and then you go 00:07:54.800 --> 00:07:57.360 hunt for it. 00:07:55.480 --> 00:07:58.040 >> Yes. But you know that it's probably 00:07:57.360 --> 00:08:00.520 right around 00:07:58.040 --> 00:08:03.080 >> Somewhere there. Yeah, cuz this is This 00:08:00.519 --> 00:08:05.240 have 100 shots 00:08:03.079 --> 00:08:06.959 but it's starting from shot 78 so 00:08:05.240 --> 00:08:09.400 probably somewhere in here. 00:08:06.959 --> 00:08:09.399 Holy cow. 00:08:19.839 --> 00:08:25.079 It really is sort of blowing my mind 00:08:21.959 --> 00:08:29.279 just the sheer weight, the sheer volume 00:08:25.079 --> 00:08:32.718 of plastic and aluminum required to move 00:08:29.279 --> 00:08:35.478 these pieces and prints around. Um this 00:08:32.719 --> 00:08:37.599 is less than an hour of film 00:08:35.479 --> 00:08:39.440 but at such a resolution that it weighs, 00:08:37.599 --> 00:08:41.919 you know, dozens and dozens of pounds. 00:08:39.440 --> 00:08:43.520 It's amazing. It's like it's like the 00:08:41.918 --> 00:08:45.559 single heaviest component of flying an 00:08:43.519 --> 00:08:47.199 airplane is its fuel. Like you don't 00:08:45.559 --> 00:08:49.000 really think about that but it really is 00:08:47.200 --> 00:08:50.680 like most of managing an airplane's 00:08:49.000 --> 00:08:53.360 weight is about managing the weight of 00:08:50.679 --> 00:08:56.479 its fuel. And for some reason that seems 00:08:53.360 --> 00:08:58.800 to me to have some parity to like if you 00:08:56.480 --> 00:09:00.480 want the best the most the sharpest film 00:08:58.799 --> 00:09:01.639 format, well it's it's going to get 00:09:00.480 --> 00:09:03.320 heavy. It's going to get heavy in a 00:09:01.639 --> 00:09:04.360 hurry. 00:09:03.320 --> 00:09:05.000 That's the splice, yeah? 00:09:04.360 --> 00:09:07.200 >> Yeah, that's the tape. 00:09:05.000 --> 00:09:09.320 >> have a cutter that cuts that Yes and 00:09:07.200 --> 00:09:10.879 this is the one that does that. 00:09:09.320 --> 00:09:12.920 Oh, oh so is that the difference between 00:09:10.879 --> 00:09:14.279 this splicer and that splicer? This one 00:09:12.919 --> 00:09:17.240 does the zigzag splice. This one does 00:09:14.279 --> 00:09:20.199 the zigzag so you can pull it apart and 00:09:17.240 --> 00:09:21.919 put it back like a puzzle but this one 00:09:20.200 --> 00:09:23.960 once you do one of those because it's 00:09:21.919 --> 00:09:25.559 well kind of welded 00:09:23.960 --> 00:09:27.120 so you cannot pull it apart. If you pull 00:09:25.559 --> 00:09:29.079 it apart you cannot put it back 00:09:27.120 --> 00:09:29.720 together. So this is for like final 00:09:29.080 --> 00:09:31.520 assembly? 00:09:29.720 --> 00:09:33.960 >> Yes. And this is for temporary assembly. 00:09:31.519 --> 00:09:33.960 Got you. 00:09:43.039 --> 00:09:45.240 Okay, so we're in part of the projection 00:09:44.679 --> 00:09:46.559 room here. 00:09:45.240 --> 00:09:48.560 >> We are. We are below it. 00:09:46.559 --> 00:09:50.039 >> Okay. [laughter] Yeah. Um can can I 00:09:48.559 --> 00:09:52.519 help? Can I help put load this? Oh, 00:09:50.039 --> 00:09:55.000 amazing. Okay. So now we're lifting the 00:09:52.519 --> 00:09:58.000 platter up onto the Mark 00:09:55.000 --> 00:09:58.000 reel unit. 00:09:59.799 --> 00:10:02.319 Okay, now we're going to lock it in. Ah, 00:10:01.840 --> 00:10:04.560 okay. 00:10:02.320 --> 00:10:06.560 >> Got to be careful like and also we have 00:10:04.559 --> 00:10:07.845 the screws. If you could pass me this 00:10:06.559 --> 00:10:08.319 one. 00:10:07.846 --> 00:10:09.799 >> [snorts] 00:10:08.320 --> 00:10:12.480 >> And I just got tight there. 00:10:09.799 --> 00:10:12.479 >> all right. 00:10:13.080 --> 00:10:16.879 Now, 00:10:14.279 --> 00:10:20.039 this is going up to the projector. 00:10:16.879 --> 00:10:22.519 And so we need a lot of free that leader 00:10:20.039 --> 00:10:24.639 and we're going to spool a lot of it. 00:10:22.519 --> 00:10:26.559 So we go cuz the projectors are in the 00:10:24.639 --> 00:10:28.559 second floor. So you see it's going to 00:10:26.559 --> 00:10:30.879 travel from here all the way up and then 00:10:28.559 --> 00:10:33.039 coming down. So it's not going to be the 00:10:30.879 --> 00:10:34.639 actual movie. It's just leader. Right, 00:10:33.039 --> 00:10:36.159 right, right. So this is all just blank 00:10:34.639 --> 00:10:37.600 film, but it's going to travel all the 00:10:36.159 --> 00:10:38.679 way up where that rope's going through 00:10:37.600 --> 00:10:40.120 the hole? Yes. 00:10:38.679 --> 00:10:41.799 >> Because because all the work is done 00:10:40.120 --> 00:10:43.720 down here and all the heavy lifting 00:10:41.799 --> 00:10:45.559 comes down on the first floor. There's 00:10:43.720 --> 00:10:47.040 there was no real way to get these into 00:10:45.559 --> 00:10:49.559 the booth as you'll see when we go up 00:10:47.039 --> 00:10:51.159 there. So the weight of this means that 00:10:49.559 --> 00:10:53.159 architecturally 00:10:51.159 --> 00:10:53.719 this is an accommodation because of how 00:10:53.159 --> 00:10:55.480 heavy these are. 00:10:53.720 --> 00:10:56.600 >> It is and it might seem crazy like why 00:10:55.480 --> 00:10:58.039 would you invent something like that, 00:10:56.600 --> 00:10:59.680 but it works. Amazing. 00:10:58.039 --> 00:11:01.759 >> Yeah. You guys must now have some 00:10:59.679 --> 00:11:04.799 intense HVAC here because I would 00:11:01.759 --> 00:11:05.879 imagine small amounts of dust can damage 00:11:04.799 --> 00:11:08.120 this print over time. 00:11:05.879 --> 00:11:08.919 >> Yeah, it's it's not as big a deal as it 00:11:08.120 --> 00:11:09.480 is with negative. 00:11:08.919 --> 00:11:11.079 >> Of course. 00:11:09.480 --> 00:11:12.440 >> And we have special rollers too that 00:11:11.080 --> 00:11:13.960 help make sure that that everything's 00:11:12.440 --> 00:11:15.760 clean before it goes into the projector. 00:11:13.960 --> 00:11:17.800 Incredible. Yeah. 00:11:15.759 --> 00:11:21.480 Okay, so that's a lot of film he just 00:11:17.799 --> 00:11:22.919 wound up there. Oh, look at that. 00:11:21.480 --> 00:11:25.200 Yeah, how many feet Irving do you have 00:11:22.919 --> 00:11:28.199 of of leader on the head? 00:11:25.200 --> 00:11:31.040 I don't know, probably like 100 ft. 00:11:28.200 --> 00:11:31.040 Wow. 00:11:32.000 --> 00:11:38.080 IMAX film is 337 ft per minute. So 00:11:34.839 --> 00:11:41.320 that's just over you know, 20 seconds of 00:11:38.080 --> 00:11:45.400 of of leader, right? Wow. 00:11:41.320 --> 00:11:47.440 330 and 35 mm is like 90 ft per Yeah. 00:11:45.399 --> 00:11:50.759 Yeah. [laughter] 00:11:47.440 --> 00:11:53.200 Right, an hour is a mile in 35 mm. 00:11:50.759 --> 00:11:55.519 Oh my god, the cable carries the film 00:11:53.200 --> 00:11:55.520 up. 00:12:02.360 --> 00:12:06.600 Okay, now we're going to walk up Okay. 00:12:04.720 --> 00:12:08.080 >> and pull this so we can continue. 00:12:06.600 --> 00:12:10.240 >> Okay, so you go up there and pull it. 00:12:08.080 --> 00:12:11.680 You don't just We just go like fishing. 00:12:10.240 --> 00:12:13.399 We kind of 00:12:11.679 --> 00:12:15.079 I'm sort of I'm still wrapping my head 00:12:13.399 --> 00:12:16.559 around the fact that this travels 30 ft 00:12:15.080 --> 00:12:17.360 into the ceiling to get to the 00:12:16.559 --> 00:12:18.879 projector. 00:12:17.360 --> 00:12:20.519 >> Yeah, yeah, it does. And then it has to 00:12:18.879 --> 00:12:22.000 come back down. 00:12:20.519 --> 00:12:24.319 Oh my god, of course it does. 00:12:22.000 --> 00:12:26.159 >> Yes. So it travels another 30 ft back 00:12:24.320 --> 00:12:29.000 down to get the the take-up reel, which 00:12:26.159 --> 00:12:32.799 is of course it's there. 00:12:29.000 --> 00:12:35.399 >> That's insane. I love that that works. 00:12:32.799 --> 00:12:37.479 It is amazing. For 3D movies is it 00:12:35.399 --> 00:12:39.120 double this? It is double this. Yeah, we 00:12:37.480 --> 00:12:41.680 actually have a whole other Mark II 00:12:39.120 --> 00:12:42.960 assembly uh platter system over there. 00:12:41.679 --> 00:12:44.120 And if you notice there's plat there's 00:12:42.960 --> 00:12:46.120 there's these little pulleys that go 00:12:44.120 --> 00:12:47.879 over your head. And so we actually have 00:12:46.120 --> 00:12:49.120 two sets that can go up there for left 00:12:47.879 --> 00:12:53.159 eye and right eye film projector. 00:12:49.120 --> 00:12:55.360 >> Oh my god, two separate gigantic prints 00:12:53.159 --> 00:12:57.679 for left eye and right eye. Yes. 00:12:55.360 --> 00:12:59.639 Amazing. Just to give you a sense of the 00:12:57.679 --> 00:13:02.120 size of this. This is a roughly 00:12:59.639 --> 00:13:04.759 hour-long reel and loaded with film 00:13:02.120 --> 00:13:07.679 weighs about 300 lb. 00:13:04.759 --> 00:13:10.600 This is a 68-in reel holds just shy of 3 00:13:07.679 --> 00:13:12.399 hours, weighs almost 600 lb and this is 00:13:10.600 --> 00:13:15.000 not their biggest reel. This is their 00:13:12.399 --> 00:13:16.240 second biggest reel. 00:13:15.000 --> 00:13:19.764 Crazy. 00:13:16.240 --> 00:13:21.783 I'm only a tiny bit taller than this. 00:13:19.764 --> 00:13:21.783 >> [music] 00:13:23.799 --> 00:13:27.719 >> So here's Yvon with the film that came 00:13:25.919 --> 00:13:30.039 from below. 00:13:27.720 --> 00:13:31.560 I just love that these are bolted to the 00:13:30.039 --> 00:13:34.480 the engineering in me thinks this 00:13:31.559 --> 00:13:36.159 shouldn't be possible, but it's perfect. 00:13:34.480 --> 00:13:38.399 Okay, so what's the next step for this 00:13:36.159 --> 00:13:42.279 to get into the projector? So he's going 00:13:38.399 --> 00:13:42.279 to go through that hole. Okay. 00:13:46.839 --> 00:13:50.880 And we're going to be using that film 00:13:48.279 --> 00:13:50.879 projector. 00:13:54.480 --> 00:13:58.720 Wow. 00:13:56.839 --> 00:13:59.120 So this is the David Keighley theater 00:13:58.720 --> 00:14:00.920 booth. 00:13:59.120 --> 00:14:03.720 >> Got you. And we have three sets of 00:14:00.919 --> 00:14:06.039 projectors, one film and two digital. 00:14:03.720 --> 00:14:06.720 Okay, so that's a set of film 00:14:06.039 --> 00:14:08.799 projectors. 00:14:06.720 --> 00:14:10.320 >> Yes. A set of digital projectors and 00:14:08.799 --> 00:14:12.399 another digital projector. 00:14:10.320 --> 00:14:14.160 >> And they're all on a rail system that 00:14:12.399 --> 00:14:15.600 allows us to basically prep for a 00:14:14.159 --> 00:14:17.879 session. So we might have a digital 00:14:15.600 --> 00:14:19.720 session 10 minutes ago, it wraps and 00:14:17.879 --> 00:14:21.720 then we have to basically go right into 00:14:19.720 --> 00:14:23.920 film. So they can prep all this and load 00:14:21.720 --> 00:14:25.600 it all up and then slide it over in 00:14:23.919 --> 00:14:27.559 literally 5 minutes we're operating on 00:14:25.600 --> 00:14:29.879 film. Amazing. And is the reason there's 00:14:27.559 --> 00:14:32.519 two digital projectors is for stereo 00:14:29.879 --> 00:14:34.399 projection? Yes, and and also to get the 00:14:32.519 --> 00:14:36.799 power we need on the screen. That's our 00:14:34.399 --> 00:14:39.480 GT digital projection system. So you 00:14:36.799 --> 00:14:40.719 double it? Yeah, it's it's full 143. In 00:14:39.480 --> 00:14:42.800 fact, every morning we have a 00:14:40.720 --> 00:14:44.600 calibration system. Anytime these 00:14:42.799 --> 00:14:46.599 projectors move, we have an auto 00:14:44.600 --> 00:14:49.040 calibration system that converges the 00:14:46.600 --> 00:14:50.800 two projectors. Wow. And so you're 00:14:49.039 --> 00:14:52.279 putting one image on top of the other to 00:14:50.799 --> 00:14:53.359 get the maximum amount of brightness 00:14:52.279 --> 00:14:54.759 from the digital projector. 00:14:53.360 --> 00:14:57.680 >> Yes. This is the only way to achieve 00:14:54.759 --> 00:14:59.799 full 143 digital projection in IMAX. So 00:14:57.679 --> 00:15:01.120 even though he is spooling the film into 00:14:59.799 --> 00:15:02.719 the film projector, that projector is 00:15:01.120 --> 00:15:03.639 still going to move into its final 00:15:02.720 --> 00:15:05.360 position. 00:15:03.639 --> 00:15:08.240 >> And this rig can accommodate that. 00:15:05.360 --> 00:15:10.480 >> Absolutely. Again, the engineer in me is 00:15:08.240 --> 00:15:13.200 like this shouldn't really work. It 00:15:10.480 --> 00:15:15.120 shouldn't, but it does. 00:15:13.200 --> 00:15:17.360 All right, and then it's coming back. 00:15:15.120 --> 00:15:19.560 >> That's right. This is the return trip. 00:15:17.360 --> 00:15:20.120 Through the same hole. Right, cuz left 00:15:19.559 --> 00:15:23.838 eye, right eye. 00:15:20.120 --> 00:15:23.839 >> Right, right, right. Going fishing. 00:15:24.039 --> 00:15:27.879 Yeah, and here's the the film projector 00:15:25.839 --> 00:15:30.480 is going into place. You can run both 00:15:27.879 --> 00:15:32.679 these projectors if you're doing 3D, but 00:15:30.480 --> 00:15:34.079 also if you're doing a rollover. So 00:15:32.679 --> 00:15:36.399 basically if you're going to transfer 00:15:34.078 --> 00:15:38.639 over from one to the ever other. If he 00:15:36.399 --> 00:15:40.799 had let's say two different reels that 00:15:38.639 --> 00:15:42.120 we needed to go from one to the other, 00:15:40.799 --> 00:15:43.639 we could go into that mode. 00:15:42.120 --> 00:15:45.039 >> So they don't you don't have little burn 00:15:43.639 --> 00:15:45.600 holes in the corner of the 00:15:45.039 --> 00:15:46.919 >> Yeah, 00:15:45.600 --> 00:15:47.720 cuz the first one 00:15:46.919 --> 00:15:49.559 and the second one 00:15:47.720 --> 00:15:50.839 >> Yeah, totally. You don't do that. How do 00:15:49.559 --> 00:15:52.119 you know when to do the changeover? 00:15:50.839 --> 00:15:52.680 >> Because we're not doing it for final 00:15:52.120 --> 00:15:53.159 product. 00:15:52.679 --> 00:15:54.679 >> Okay. 00:15:53.159 --> 00:15:56.000 >> Yeah, so they'll basically just change 00:15:54.679 --> 00:15:58.039 over to the other one when we need to. 00:15:56.000 --> 00:16:00.399 But it's all it's all in sync. Even our 00:15:58.039 --> 00:16:03.719 sound. Our sound is basically a digital 00:16:00.399 --> 00:16:06.120 track that goes in on an optical disc 00:16:03.720 --> 00:16:07.839 and we we ingest it into a hard drive 00:16:06.120 --> 00:16:09.799 system. And it syncs up with that. 00:16:07.839 --> 00:16:11.480 >> It syncs up with the with the film, 00:16:09.799 --> 00:16:14.240 exactly. 00:16:11.480 --> 00:16:16.159 Similar to the DTS system. Got you. All 00:16:14.240 --> 00:16:18.581 right, so this is the business end of 00:16:16.159 --> 00:16:20.279 the process we just watched. A director 00:16:18.581 --> 00:16:22.680 [music] who is working on a film with 00:16:20.279 --> 00:16:25.559 IMAX is coming in in a few minutes to 00:16:22.679 --> 00:16:27.639 watch some dailies of their film. We 00:16:25.559 --> 00:16:29.715 can't tell you what it is, but it's now 00:16:27.639 --> 00:16:34.120 been spooled into this projector and 00:16:29.716 --> 00:16:35.799 [music] it's about to be projected. I am 00:16:34.120 --> 00:16:38.480 Everything about [music] this process is 00:16:35.799 --> 00:16:40.279 sort of gargantuan and incredible to me 00:16:38.480 --> 00:16:41.959 and I can only imagine how thrilling it 00:16:40.279 --> 00:16:44.799 is for that director [music] 00:16:41.958 --> 00:16:47.400 to see their footage in such a format. 00:16:44.799 --> 00:16:49.420 It's got to be intoxicating. 00:16:47.400 --> 00:16:49.420 >> [music] 00:16:55.916 --> 00:16:57.936 [music] 00:17:09.671 --> 00:17:11.691 [music]