quote:
Hier stukje van Wikipedia over je vraag:
IMAX DMR (Digital Media Remastering)[edit]
IMAX's proprietary DMR (Digital Media Remastering) process allows conventional films to be upconverted into IMAX format. This special digital intermediate technology allowed films shot on 35mm for conventional theatres to be shown in IMAX venues. In 2002, Star Wars Episode II: Attack of the Clones and an IMAX-format re-release of the 1995 film Apollo 13, were the first official applications of the DMR process. Because of the projection limitations at the time, Apollo 13 and Attack of the Clones had to be edited down from their original length. As IMAX updated the system and expanded the size of the platters, the later DMR releases did not have this limitation; current platters allow a run time of up to 175 minutes.
Reviewers have generally praised the results of the DMR blowup process, which are visually and audibly superior to the same films projected in 35mm.[citation needed] But some filmmakers, such as producer Frank Marshall, point out that DMR blowups are not comparable to films created directly in the 70 mm 15 perf IMAX format, and that directors Ron Howard and George Lucas expected better.[29] They note that the decline of Cinerama coincided roughly with its replacement by a simpler, cheaper, technically inferior version, and view DMR with alarm. IMAX originally reserved the phrase "the IMAX experience" for true 70 mm productions, but now allows its use on DMR productions as well.
After The Lion King in 2003, no Hollywood studio engaged in re-releasing and restoring classic films through the IMAX DMR process until 2012 although ongoing conversion of new releases continued and continued to grow in number. James Cameron's Titanic underwent both 3D conversion and DMR conversion to 3D in 2012 as did Men in Black 3. In August 2012 IMAX and Paramount Pictures announced a one-week exclusive re-release of Raiders of the Lost Ark on September 7, 2012, to promote the release of the Blu-Ray collection. The film, before it underwent DMR, was already restored in a 4K digital intermediate with 7.1 surround sound from the original negative. The process for IMAX theaters, like with the complete restoration, was supervised by Steven Spielberg and sound designer Ben Burtt. "I didn’t know if the 1981 print would stand up to a full IMAX transfer, so I came expecting a sort of grainy, muddy, and overly enlarged representation of the movie I had made years ago," Spielberg said. "I was blown away by the fact that it looked better than the movie I had made years ago." For other DMR releases and re-releases see List of IMAX DMR films.