surfkuno

FILMED FOR IMAX — #Varanasi Varanasi marks the first Indian film to feature scenes shot entirely (or partially) in the 1.43:1 IMAX aspect ratio, the same immersive format used in Dune: Part One & Two and Joker: Folie à Deux. The film was shot using large-format digital cameras such as the ARRI Alexa 65 and ARRI Alexa LF, both capable of capturing images at an incredible 6.5K resolution. These cameras provide exceptional clarity while offering greater flexibility compared to traditional 70MM IMAX film cameras. Enabling handheld shots, easier setup in tight spaces, and quieter operation during dialogue scenes. Traditional 70MM IMAX cameras, while visually unmatched, are bulky and extremely loud, making them impractical for most narrative productions. Both Dune and Joker: Folie à Deux were “Filmed for IMAX”, meaning they were shot using IMAX-certified digital cameras that meet IMAX’s technical standards for large-format projection. However, they were not shot on actual 70MM IMAX film stock. This distinction is key. These films were “Filmed for IMAX,” not “Filmed in IMAX.” The ARRI Alexa LF camera plays a crucial role here. It was specifically designed to record in the native 1.43:1 aspect ratio, matching IMAX’s 70MM projection format without any cropping. This means such films cannot be labeled “Open Gate,” as they are purposefully composed for IMAX from the start. Understanding the Terms “Filmed for IMAX” Refers to films shot with IMAX-certified digital cameras, like the ARRI Alexa 65, Alexa LF, Sony VENICE, Panavision DXL2, or RED Ranger Monstro. Designed to capture the expanded 1.90:1 aspect ratio for IMAX theatres. Every stage, from pre-production to post-production, follows IMAX’s visual and sound standards. “Shot in IMAX” (or “Shot with IMAX”) Applies to productions that use genuine IMAX 65MM film cameras, which record on 15-perforation 70MM film. Only a few of these cameras exist worldwide, and they’ve been used in landmark films such as Oppenheimer, Interstellar (partial sequences), and The Dark Knight Rises. Indian Context Director @ssrajamouli and cinematographer @DOPSenthilKumar shot RRR using the ARRI Alexa LF in open gate mode, composed for the 1.90:1 aspect ratio. However, IMAX was not directly involved in its production or creative supervision, which is why RRR was marketed as “Experience it in IMAX” rather than “Filmed for IMAX.” As of now, India has 34 operational IMAX screens, with Gujarat Science City IMAX in Ahmedabad being the country’s last functioning 15/70 IMAX giant screen. Over the past decade, it has primarily screened educational documentaries rather than commercial films, due to technical limitations. With Varanasi, Indian cinema takes a major leap forward. Embracing true IMAX visual storytelling for the first time. It’s a bold and defining step, one that could open the door for more Indian filmmakers to explore the grandeur of the IMAX format. Can’t wait to witness #VaranasiMovie on the biggest screen possible. The way it’s meant to be experienced. I hope we get a GT LASER IMAX by then. Here’s the reference of how @VaranasiMovie looks on Standard, Digital Imax & GT IMAX or 15/70MM IMAX.