IMAX is known for creating some of the most immersive experiences in modern cinema. In this blog, we will be exploring what goes into making an IMAX film, from the size of the film itself to the number of frames captured every second. Christopher Nolan’s “The Odyssey” offers a great example of just how far IMAX filmmaking has developed and the work that goes into bringing a story to life on such a large scale.

While traditional films are a passive experience, IMAX is designed to completely immerse your field of view. “The Odyssey” made film history as the first narrative feature shot entirely on IMAX 70mm cameras. To appreciate this engineering achievement, one must look closely at the film stock itself. Each film magazine only holds enough stock to run for a maximum of 3 minutes shoot time. You can not buy an IMAX film camera you can only hire; with each camera insured for $500,000.  Fun fact: Christopher Nolan has managed to destroy 3 IMAX cameras in his career. One was destroyed during the filming of The Dark Knight in a chase sequence, another in The Dark Knight Rises during a crash sequence and in Dunkirk he managed to sink a camera in the ocean.

A standard 35mm film frame moves vertically through a projector. IMAX 15/70mm film, however, runs horizontally. Most traditional film is photographed and projected at a standard 24 frames per second; with IMAX, that means 15 perforations pass the projector gate for each frame. This frame size is roughly ten times larger than the standard 35mm size; however, its increased size creates a challenge for physical movement.

To project a film at the standard theatre projectors’ frame rate, the film must travel through the machine at a staggering 102.7 metres per minute. The Odyssey used around 2.1 million feet of film during production to accommodate its 2-hour, 52-minute runtime. This resulted in massive, circular film platters that weighed hundreds of kilogrammes and required specialised, heavy-duty motorised systems just to spin them without collapsing under their own momentum.

Since 15/70mm film projectors are incredibly rare and complex to assemble, IMAX revolutionised theatre design with dual-4 K GT Laser projection. In theatres equipped with these, the 1.43:1 aspect ratio of “The Odyssey” is fully preserved, filling the massive screen from floor to ceiling. Instead of a physical light bulb, which will naturally degrade and lose brightness over time, a laser light engine delivers immense brightness across the entire screen. This technology also has a superior contrast ratio, delivering deep, inky blacks and vibrant colours.

Standard projectors pull film down with mechanical claws, which would tear the 70mm print, so instead IMAX uses a “Rolling Loop” technology. Instead of pulling the film taut, this system moves the film horizontally in a gentle, wave-like motion using a series of rotating blocks. As each frame advances into the projection gate, a powerful compressed-air vacuum tightly sucks the film perfectly flat against the lens. This level of flatness is absolutely crucial. Because the final IMAX screen is so gigantic, even a microscopic warp or bend in the film stock would instantly blur the crystal-clear resolution of the image.

Ultimately, IMAX filmmaking is a remarkable combination of artistry, engineering and technology. From the 15/70mm film stock to the precision of the Rolling Loop projection system and GT Laser projectors, every part is designed to create the most immersive cinematic experience possible. “The Odyssey” demonstrates just how far this technology has developed, pushing the boundaries of what can be achieved on the big screen and showing why IMAX remains at the forefront of modern cinema.