Many of the movies that are said to be filmed in IMAX are only partially filmed using IMAX technology. Christopher Nolan’s “The Odyssey” is different: the whole film was done in IMAX. 

To be watched properly, IMAX has to be shown on a huge screen (70 x 50 feet) specifically made for the technology, using special projection equipment that can handle the 1.43 to 1 aspect ratio. The best is the 70mm IMAX film projector. In the U.S. there are fewer than 40 screens capable of providing the full IMAX experience. Fewer still are the places that use the 70mm film projectors, because some use two 4K laser projectors to simulate the 70mm experience. 

Before an IMAX film even gets to the big screen, there are other challenges to contend with: as a highly mechanical system, an IMAX camera is so loud that it interferes with the sound quality of the actors’ dialogue. This is why only part of many IMAX films are shot in the IMAX format. It’s often used for large-scale battle scenes, as the camera is too noisy for close-up scenes. 

“The Odyssey,” however, has changed the game. According to sources, Christopher Nolan, with help from his engineers, created a housing to dampen the sound of the camera so they could use it for every scene. That’s a big deal, but it came with its own problems. The blimp—as the enclosure is called—weighs close to 400 pounds and is so big that it often sits between two characters who are talking.

Even though the camera is positioned perfectly for the scene, the blimp physically blocks the actors’ views of each other. This is a problem because the actors needed to work off of each other’s body language and facial expressions to build that emotional exchange necessary. Seeing each other is important to making the scene realistic and natural. This eyeline, as it’s called, helps with timing, too. 

In a featurette shared by IMAX and Universal Pictures, the crew talks about how the engineers created a mirror system that allows the characters to see each other even though the huge IMAX camera inside its enclosure is blocking their view. The mirrors allow the characters to see each other and play off of the body and facial cues they’re used to. Where normally the camera adapts to the actors, in this case the actors had to adapt to the camera’s limitations. 

Both engineered fixes—the blimp and the mirrors—are very specific to the needs of the movie. They are both mechanical, efficient, and—in many ways—ingenious. Design often comes from nothing more than solving a problem with the tools you have, and trying something completely different than has been done before. The clever design fixes on the set of “The Odyssey” are a perfect example of inspired innovation. 

For information: 

IMAX 

The Odyssey

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