Jennifer Patterson-Tui 欢迎 Charles Pulley-Moore 做客 The VergeCast，讨论 IMAX 技术令人惊讶的复苏。随着克里斯托弗·诺兰的电影《奥德赛》影院场次售罄，以及《蜘蛛侠：全新的一天》拓展到IMAX格式，这项已有60年历史的技术突然成为热门话题。 普利-摩尔澄清说，IMAX不仅仅是一个大银幕；它是一整套专有的电影制作和放映技术。这包括专用摄影机、胶片、独特且难以制造的放映机（其中许多已有数十年历史），以及能够以高度沉浸式的1.43:1宽高比显示电影的巨型银幕。这种“图像最大化”（Image Max）体验旨在将观众完全带入电影之中。 IMAX的吸引力在于其高画质和沉浸感，尤其是在使用70毫米胶片拍摄的电影中。普利-摩尔引用电影《罪人》（*Sinners*）作为一个先前的例子，其中15孔70毫米IMAX场景创造了广阔、宏大的镜头，增强了叙事效果。他强调，当电影制作人有意识地选择IMAX时，通常是为了以更宏大的规模描绘事物，在观众中唤起一种特定的情感，这在《奥德赛》中表现得尤为明显。 这项已有数十年历史的技术突然复苏，很大程度上归功于克里斯托弗·诺兰。他持续在《蝙蝠侠：黑暗骑士》《星际穿越》和《奥本海默》等电影中使用IMAX，不仅展示了该格式的强大能力，也普及了其知识，使他成为一位“明星导演”，其明星效应提升了IMAX的知名度。诺兰对电影作为一种艺术形式的奉献，甚至细致到将胶片作为赠品，培养了人们对电影工艺更深层次的欣赏。 诺兰的最新作品《奥德赛》是首部完全使用17毫米IMAX拍摄的电影，这一决定源于他挑战自我、突破视觉叙事界限的愿望。使用这些摄影机拍摄异常困难：它们笨重、噪音大（需要“加装消音盒”来抑制对话场景的声音），并且需要极高的技术知识、信念和资金。这一艰巨的过程最终带来了视觉上极具冲击力的体验，深深吸引了观众。 一个关键区别在于“真正的”IMAX（70毫米胶片，1.43:1宽高比）与“LIMAX”或数字IMAX之间。虽然数字IMAX比普通银幕更大更宽，但它缺乏真正的IMAX所能提供的完整视觉信息和沉浸式的高度。 真正的IMAX影院（全球仅约40家）稀缺的原因有几个：放映机老旧且精密，原始蓝图遗失，行业转向数字化导致机构知识和零件制造商的流失。此外，安装这些巨型放映机和银幕需要大量的资金投入和影院结构改造，这使得大多数影院望而却步。 普利-摩尔分享了他自己观看《奥德赛》时，分别在标准35毫米和IMAX影院中的体验。在35毫米版本中，关键的视觉细节（例如怪物斯库拉的完整形态）被遮蔽了，让他感觉缺少了什么。而在IMAX中，这些细节则完全可见，这从根本上改变了他对某些场景的看法，并突显了该格式所提供的“优质”视觉信息。 与IMAX的专有技术形成对比的是，迪士尼为新《复仇者联盟》等电影推出的“无限视界”（Infinity Vision）是一套影院可以达到的标准。它更多地是一种营销工具，而非独特的拍摄或放映技术，旨在利用公众对增强观影体验的兴趣，同时又避免了真正IMAX的技术复杂性。 最终，由诺兰等电影制作人引领的IMAX复苏，令电影爱好者感到兴奋，并帮助人们将电影视为一种艺术形式来欣赏，驱使他们走进影院，享受独特、沉浸式的观影体验，即便票价更高也在所不惜。

Jennifer Patterson-Tui welcomes Charles Pulley-Moore to The VergeCast to discuss the surprising resurgence of IMAX technology. With Christopher Nolan's *The Odyssey* selling out theaters and *Spider-Man: Brand New Day* expanding to IMAX, the 60-year-old technology is suddenly a hot topic. Pulley-Moore clarifies that IMAX is more than just a big screen; it's a proprietary suite of filmmaking and projection technologies. This includes specialized cameras, film stock, unique, hard-to-build projectors (many of which are decades old), and massive screens capable of displaying films in a highly immersive 1.43:1 aspect ratio. This "Image Max" experience aims to pull viewers into the film. The appeal of IMAX lies in its high-quality picture and the immersive feeling, especially with films shot on 70mm. Pulley-Moore cites *Sinners* as a previous example where 15-perf 70mm IMAX scenes created wide, expansive shots that enhanced the narrative. He emphasizes that when filmmakers intentionally choose IMAX, it's often to depict something on a grander scale, evoking a particular feeling in the audience, which is evident in *The Odyssey*. The sudden resurgence of this decades-old technology is largely attributed to Christopher Nolan. His consistent use of IMAX in films like *The Dark Knight*, *Interstellar*, and *Oppenheimer* has not only showcased the format's capabilities but also educated the public, making him a "celebrity director" whose star power elevates IMAX's profile. Nolan's dedication to film as an art form, down to the technical details like film strips as giveaways, fosters a deeper appreciation for the craft. Nolan's latest, *The Odyssey*, is the first film shot entirely on 17mm IMAX, a decision driven by his desire to challenge himself and push the boundaries of visual storytelling. Shooting with these cameras is incredibly difficult: they are heavy, loud (requiring "blimping" to muffle sound for dialogue scenes), and require immense technical know-how, faith, and money. This arduous process results in a visually bombastic experience that has captivated audiences. A key distinction is made between "true" IMAX (70mm, 1.43:1 aspect ratio) and "LIMAX" or digital IMAX. While digital IMAX offers a bigger and wider picture than standard screens, it lacks the full visual information and immersive height of true IMAX. The scarcity of true IMAX theaters (only around 40 worldwide) is due to several factors: the projectors are ancient and delicate, original blueprints are lost, the industry shifted to digital, leading to a loss of institutional knowledge and parts manufacturers. Furthermore, installing these massive projectors and screens requires significant financial investment and structural changes to theaters, making it cost-prohibitive for most. Pulley-Moore shares his own experience seeing *The Odyssey* in both standard 35mm and IMAX. In 35mm, crucial visual details (like the full form of the monster Scylla) were obscured, making him feel something was missing. In IMAX, those details were fully visible, fundamentally changing his perception of certain scenes and highlighting the "premium" visual information offered by the format. In contrast to IMAX's proprietary technology, Disney's "Infinity Vision" for films like the new Avengers is a set of standards that theaters can meet. It's more of a marketing tool than a unique filming or projection technology, aiming to leverage the public's interest in enhanced viewing experiences without the technical complexity of true IMAX. Ultimately, the IMAX resurgence, spearheaded by filmmakers like Nolan, is exciting for cinephiles and helps people appreciate film as an art form, driving them to theaters for unique, immersive experiences, even if it comes with a higher ticket price.