Inspired by the Dune thread, previous posts here: https://www.superbestaudiofriends.o...une-denis-villeneuve.11558/page-4#post-363872 and https://www.superbestaudiofriends.o...une-denis-villeneuve.11558/page-4#post-363890 I was an IMAX and 35mm projectionist (and operations manager) at the now defunct Bridge Cinema de Lux in West Los Angeles, near LAX, from about 2007-2013. I built, tore down, and projected IMAX films in 2D and 3D. AMA! First original post: IMAX used to be special when it was true film run horizontally through a custom projector, in a custom theater designed just for that showcase. 15 perforation 70mm IMAX in a properly calibrated IMAX theater is absolutely the best presentation you will ever see of a feature film. Hands down, period. And I should know, I worked for many years as an IMAX projectionist. Some IMAX projectors could also do 48fps for things like the Hobbit movies, others could do 3D using two film prints. Really incredible to see it at work. It is the pinnacle of film-based media. The screens were floor to ceiling in a 4:3 aspect ratio and when the image filled the full screen, it is truly immersive. Sadly, in order to remain competitive in the marketplace, IMAX converted everything to digital. They started by using two 2k projectors on screens that would simply be considered the largest screen in the house of a regular movie theater. This diminished the experience massively. Then they introduced laser projection at the Mann's Chinese Theater. I'm not sure how many theaters now feature laser IMAX. Laser projection is pretty cool, you can stack the laser modules to increase resolution so it's a partially modular system and laser can project true black. However, to equal the image quality of 15/70 IMAX, they'd have to project in 8k or higher, which the projectors can do but AFAIK cameras can't even shoot in true 8k yet, and even if they did and they filmed a big movie in 8k and projected it on IMAX laser, you still wouldn't have the floor to ceiling screen. I can't say for sure, but there may still be a few museums that didn't convert their IMAX systems to digital. That's what IMAX was originally designed for, documentaries to play in museums. If there is one near you and it's still running film, I highly recommend going. It will blow the pants off Dune. Second original post: Yeah, IMAX was always a niche of a niche and now they just exist as a brand name to get suckers to pay more at theaters. Unless you know you're seeing a 4k movie with laser projection, it's not worth any extra money any more. Working with IMAX film was a trip. The platters were so heavy we had to use a hand-cranked forklift to lift and move them. I could run the entire projection booth by myself but whenever we had two people we'd assist with loading and lifting. Here is a photo of an IMAX platter system (not my theater): Because of the way the film ran through the projector, we would have to load it and then hand turn it by several frames to make sure the film was correctly laying flat on the lens housing, and turn it until we hit the start mark. Unlike 35mm film, where the soundtrack is printed on the celluloid, we would load the soundtracks manually to a hard drive and the system would sync it to the film based on that starting mark, so we had to make sure it was aligned correctly every time. The film is so big that it would come in 3 minute reels with headers and tails. When this was for 20 minutes documentaries it wasn't an issue, but it took me an entire day and night to build Transformers 3 because that was in 3D so I had to do it twice! I logged so much overtime that at first the company thought it was a mistake and asked me to correct my time punches, but when I confirmed the hours were correct they flipped out. Made a nice chunk of change on that. For comparison, a standard 2 hour 35mm movie would come on six reels. A 2 hour IMAX movie would be on about 40 reels and unlike 35mm film where the splices are straight, because IMAX film moves in a wave-like motion and is so large, the splices had to be zig-zag using a special splicer and it was so easy to be off by a single sprocket for any given slice, making it take forever. On top of that, if you happened to splice one sprocket too many, meaning you've cut into the film image, you'd have to request a whole new reel for that 3 minutes at the cost of several thousand dollars. It was honestly one of the most enjoyable jobs I ever had.