Since the arrival of pictures of movement, are employed various tricks to Help improve experience in Moviegoing. In the midst of all the Hulabalo and Balio from the diversity of "Sidshaw Huxter" (something that genres directors like William Castle have featured), there are different technological advances (and/or experiments) trying to exploit the film. Everything from the Adoption of Sync Sound (Also Known as the "Talkies") in the 1930s on Through the Emergence of Technicolor, the Invention of Cinerama (and Its Cheaper Competitors Vistavision and Cinemascope) in the 1950s, the 1950s, the 1950s. "Sensurround" in the mid-'70s, the Advent of Digital Sound (and Later, Digital Project), and the 3-D Boom of the 2010s are all major examples of Hollywood owners and theater trying to find a way to attract an additional trick. While some of these additions were successful to become standards, and others were just short -lived staff, there was really no rhythm that was moving, which remained unique as it became more prevalent ... except for one.

So is: imax is a film format that has not only proved to be an opportunity to last and Draw a business even with repertoire releasesBut consistently provides an experience that simply cannot be replicated at home (unless you happen to live in a multi-story building with a very open concept). Originally developed in the late 1960s as a demonstration style project system, the company continued to become a feature in numerous scientific centers and museums across the country, before finally began to be used to display first-moving image images in the 00s. In 2025, almost every multiplex chain has an IMAX brand screen, and more and more Hollywood films-whether they are summer blockbusters or high-profile releases of any kind-offered format, to the point where the company has implemented its brand for IMAX.

One of the constant supporters of the format, along with Christopher Nolan and Ryan Kogller, is the director Josephosef Kosinski. Its last feature, "F1: Movie", is the fourth shot for IMAX, which is the 16th home movie that will only be offered in IMAX this year. While a large budget summer film released in IMAX can be parallel to the course these days, F1 makes particularly smart use of the format, the one that proves at least one thing: IMAX is here to stay, and needs to be used according to its full potential.

Anyone who watched a film shot in the format IMAX knows the result so far, that is to prepare the eyeball for the endless aspect rates. Christopher Nolan, The earliest narrative director for the adoption of the formatPrefer these shifts (which are usually switched between a 2,20: 1 frame and a high, IMAX-unique ratio of 1.43: 1) to be sudden and inconvenient, maintaining an audience as stimulated and awake as its similar abrasive sound mixing. Other directors want to be subtly changed between rates in a clever way, As Ryan Koggler does with changes in "sinners" where the image grows during a shot. While there are plenty of fun applications on this technique (this year only clever in "Mission: Impossible - the last count", Where Tom Cruise's superspy turns wheel and the image grows with every crank), it always feels like a limit to the format. In other words, because not every standard screen can accommodate real IMAX framing, directors need to choose and choose their moments to shine.

Kosinski seems to have found a compromise with F1, which is that the whole film is presented in a steady aspect of 1.90: 1. This means that there is no change in the image throughout the film and allows the film to become as submerged as Kosinski obviously wants to be. It is a smart choice for a veteran racer movie, Sonny (Brad Pitt), learning to find a balance with his younger and more ambitious teammate, Oshoshua (Damson Idris), as the duo is being tried both on and off the track. With this approach, Kosinski and cinematographer Claudio Miranda do not need to point out or distinguish the kinetic sequences of races from the moments between the characters outside their vehicles, and thus the film looks the whole piece. "F1" is not the first major release to keep its pictures consistent, as "Avengers: Infinite War" And "Avengers: Endgame" were the first Hollywood films to be fully filmed with IMAX cameras. However, while those films are characterized by almost constant, intensified action throughout the period, F1 is an intimate drama when it is not on the racetrack, making the presentation more novel. Although this choice of consistency loses part of Balio on a typical film IMAX - there is always an obvious feeling of excitement for the audience when the screen expands, indicating that a large part of the set will start - instead, it makes the overall "F1" feel like an event, with the image that fills the entire screen,

Until now, most IMAX releases (or at least the films "filmed for IMAX" using company cameras) have essentially followed the same scheme of aspect change rates. Whether these coefficients were 1: 90: 1 around, or 1.90: 1 for smaller IMAX theaters and 1,43: 1 for the higher and larger ones, there were at least a general consistency in the presentation. However, as recent releases such as "Duna: Part Two" And this year "Sinners" They have proven, there are many variations between all available stories with large format (in the latter case, Kogller himself helped point out these differences). In other words, telling someone you've seen in the "sinners" in IMAX may mean that you have seen either a 2,76: 1 version that switches to 1.90: 1 during the IMAX scenes, or a version of 2,76: 1, which moves to 1.43: 1 during the IMAX, or the second to 70mm. When it comes to IMAX with laser locations, there are only 7 in the United States, and only 10 additional theaters are equipped to project the film IMAX 70mm. This means that only 17 theaters across the country characterize the entire screen of 1,43: 1 IMAX, and while making these screens special and unique experience, it feels like so much movie to miss no matter what.

This is why the choice of Kosinia and Miranda to shoot for 1.90: 1 throughout the whole is a decent compromise, because it means that whatever IMAX theater you see "F1" in, you see the same amount of image that is all else. However, it is not denied that the experience of watching a movie in 1.43: 1 IMAX is so much memorable and it is quite impossible to replicate at home. So, the question arises: now that IMAX is here to stay over shadow of doubt, does the standard IMAX frame should be considered 1.90: 1? Or should this continue to think According to the offensive term "Liemax", Maintenance of 1.43: 1 "real" definition of format? After all, every Dolby and 4DX screen in the country offers the same general experience without this much variation.

For my money, I believe there is a future for theater owners and IMAX investing dollars and efforts to build more screens of 1.43: 1 IMAX across the country. The massive success of Oppenheimer, "sinners" and other premium releases of IMAX should be enough proof that the audience will attend these driving screens. If that happens, the prospect of a full function presented in 1.43: 1, similar to F1 and its lack of change in the relationship, can actually happen, and we will have a hell of rhythm to get excited.