Christopher Nolan’s Game-Changing IMAX Secret for The Odyssey Revealed

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Ryan Coogler appears to have unveiled Marvelous advancements in IMAX technology for Christopher Nolan’s upcoming projects. Following the triumph of ‘Oppenheimer’ (2023), which earned him an Oscar, Nolan now intends to adapt Homer’s epic poem, ‘The Odyssey’, about Odysseus’ protracted voyage home from the Trojan War. Matt Damon has been confirmed as Odysseus in this film, with a stellar supporting cast that includes Tom Holland, Zendaya, Robert Pattinson, Anne Hathaway, and Charlize Theron, among others. As previously disclosed, Nolan will incorporate this innovative IMAX technology during the filming process.

In a recent episode of “The Big Picture” podcast, Ryan Coogler, fresh off the release of his latest horror-vampire film titled “Sinners”, disclosed that he sought advice from Christopher Nolan regarding the implementation of IMAX film cameras for their project. This interaction seems to have given him exclusive insights into the new IMAX technology that Nolan is employing during the production of “The Odyssey”. Apparently, Coogler mentioned that Nolan is utilizing sync-sound IMAX cameras, a novel development designed to minimize camera noise and preserve dialogue clarity on set. Here’s the link for more details: [Coogler’s Explanation]

As a passionate cinephile, I had the privilege of chatting with Chris Nolan and Emma Thomas about the film format. We found ourselves pondering large format options since they had recently dealt with both camera setups we eventually chose – our System 65 package utilized different lenses, while Ultra Panavision 276 was used elsewhere. Essentially, Chris encouraged me not to fear the technical aspects of it all. He understood that cameras can be daunting equipment, especially given his history of handheld camerawork and the fact that sync-sound cameras aren’t designed for such handling.

Sure thing!

“Alright, let me geek out for a moment. [Laughs] The IMAX camera package has an interesting aspect – it isn’t actually a sync-sound camera. Although the version he used on ‘The Odyssey’ might be different, the one they used to film Oppenheimer and Dunkirk is the same one they used for the last two Dark Knight movies. These cameras are enormous, tearing through celluloid at a rate of 15 perfs per image every 24 images per second. It sounds like someone combined seven lawn mowers and enclosed them in a steel box, with all of them running simultaneously. So, if you’re planning to shoot an over-the-shoulder dialogue scene, this camera will be heavily present during the conversation, making it necessary for Automatic Dialogue Replacement (ADR).

Ryan Coogler Explains The New IMAX Camera Innovation

The New Camera Comes With One Major Drawback

From my perspective as a cinephile, it’s fascinating to learn about the challenges faced during the filming of Oppenheimer, particularly with the IMAX cameras. You see, these colossal cameras have a significant drawback – they’re incredibly loud due to their historical use of a noisy vacuum system. This noise has traditionally hindered sync-sound recording, forcing many filmmakers to resort to ADR (automatic dialogue replacement) sessions during post-production for quiet dialogue scenes. However, director Christopher Nolan has often been hesitant to embrace this method, preferring to manipulate the footage using software to minimize camera noise. But as Ryan Coogler explains, the new System 65 has turned the tide: it allows for sync-sound recording with IMAX cameras, making the need for ADR less prevalent.

The 5-performance, 65mm filming setup, known as System 65, comes equipped with two silent-recording cameras, which capture synced sounds. In simpler terms, this means that while the camera is recording, no sound is audible…

The incorporation of sync-sound tech, though beneficial, isn’t without its challenges. As the filmmaker points out, the soundproofing necessary to mute background noise ends up making these already quite heavy IMAX cameras even heavier. Consequently, this restricts their usage during filming.

Given the substantial soundproofing on that camera due to its intense workload, it’s incredibly heavy – a whopping 100 pounds. Unfortunately, this bulk and lack of ergonomics make it virtually impossible for handheld use with the sync-sound version of the camera, if I may clarify?

As a fellow film enthusiast, I hail from the same alma mater as Chris – the school of whatever suits the moment in a scene. This approach is evident in some of his films where he frequently employs handheld camera techniques, which you’ll recognize if you’re familiar with the style.

However, when it comes to shooting System 65, a different approach is required. You won’t find me handholding the camera or using a steadicam because the equipment is simply too heavy for such maneuvers. Instead, we’ll be working either from sticks or a crane, or even placing the camera on the ground to capture the desired shots.

Coogler describes an alternative version of the System 65, which boasts greater mobility compared to conventional IMAX cameras. This portable model can be utilized with a steadycam system, making it particularly effective in action-packed or fast-moving sequences. However, this version lacks soundproofing, similar to traditional IMAX cameras, necessitating additional dialogue recording (ADR) afterward.

Therefore, he was confirming that there’s an alternative model of this camera, known as the high-speed System 65 camera. To clarify, this camera shares most of its features with the original one, but lacks soundproofing. Consequently, it weighs approximately 60 pounds. This camera can be operated handheld or mounted on a steadycam. However, due to its high volume, any dialogue recorded with this camera will require Automated Dialogue Replacement (ADR), as its noise level is almost comparable to, if not exceeding, that of an IMAX camera.

As a devoted admirer, I’ve learned from Coogler’s approach that technology should serve as a tool, not a master. Just like Nolan advised him, he encourages me not to let the tech completely control the way I film my movies.

Essentially, Chris recommended I should handle it just as if it were a regular camera. He went on to share how he captured some intimate scenes featuring Oppenheimer and Cillian Murphy by getting incredibly close with the device, emphasizing that this closeness was crucial for the film’s authenticity.

What This IMAX Innovation Means For The Odyssey

Will The Film Avoid A Common Nolan Complaint?

Critics adored the Oppenheimer reviews, and it’s no surprise that most of Christopher Nolan’s films are widely appreciated. They are often lauded for their grandiose action sequences and thought-provoking narratives. However, a recurring criticism is that the dialogue in Nolan’s movies can sometimes be tough to follow. This stylistic decision by Nolan comes from his preference to keep the original dialogue recorded on set, rather than adding additional dialogue later.

Using the advanced sync-sound IMAX camera, The Odyssey might experience less of that issue, though perhaps not entirely. Since this camera is quite heavy, it may not work well during fast-paced action scenes where dialogue can still be hard to distinguish. However, static scenes could undergo a significant improvement. It’s uncertain how this new IMAX technology will affect The Odyssey, but audiences might look forward to an innovative shift.

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2025-04-22 16:38