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The Dark Knight Rises - Behind the Scenes
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  • The cinematography looks amazing. I'm surprised they're using a minimal amount of CG as well. Christopher Nolan has done an admirable job with the Batman series so far and I doubt this finale in his trilogy will break that streak.

    Thanks for sharing Vitaliy.

  • Interesting! Could be also interesting how they manage to deal with the aspect ratios.. I can see a IMAX's and Panavision's 65mm cameras + classic Panavision 35mm cameras shooting anamorphic (as we can see the 2.35:1 markings/guides on their screens) .. The online trailer is in 2.35:1.. I think the IMAX version should be 1.44:1 (blow-up to 70mm or IMAX DMR for IMAX projection)..? So non-IMAX prints/DCP versions should be cropped from the original aspect ratio of 1.44:1 to 2.35:1 in the scenes that were shot on 65mm?

  • @markV. They had the same process with the second installment 'The Dark Knight' used IMAX and traditional 35mm. On the blu-ray version, it goes from an ADJUSTED IMAX RATIO of 1.78 to 1, to the 2.35 Super35 ratio. I found it to be slightly distracting during the changes, but the IMAX Image quality certainly makes up for it in 1.78 and is breathtaking.

  • Small correction, the 35mm material was shot anamorphic, not Super-35.

    Vincent

  • Not much of a BTS, more like a promo for the film with bits of set design, art direction, and little snippets of actual production shooting. Still cool though.

  • @JPB1138 Well, I can imagine how the changes can be distracting on a Blu-Ray at home... but can you imagine the in-film aspect ratio changes to widescreen 2.35:1 on this giant 1.44:1 IMAX cinema screen?!?

  • Having seen THE DARK KNIGHT in IMAX, I can honestly say the change in aspect-ratio wasn't distracting, so long as we're talking about whole long scenes shot in IMAX. What WAS distracting were occasions when it would cut from an IMAX shot to anamorphic 35mm within the same scene and the drop in clarity/resolution really stood out. An example is the IMAX shot when the Joker is walking away from the hospital and he sets off the bomb. After the bomb goes off, there's a quick cutaway to Anthony Michael Hall reacting from within a schoolbus that was shot 35mm anamorphic. Going from that crystal-clear IMAX to a quick 35mm cutaway really called attention to itself. I think part of the issue with the previous film is they decided to shoot more scenes and shots in IMAX during production, so you had some scenes where they mixed 35mm and IMAX within the same scene. For the new film, I'd imagine they planned it out better so there are more entire IMAX sequences contained within themselves.

    Vincent