RealD vs IMAX Digital 3D: What's the difference?

The passive polarizing technology used to display 3D in most movie theaters is also similar to those found in passive 3D TVs. However, the fact that some movies are presented in several 3D formats in the theaters can be somewhat confusing. Most of us who've caught a 3D movie at the cinemas recently probably experienced the more common RealD 3D technology, while IMAX Digital 3D (as well as its analog counterpart) is a format presented at IMAX auditoriums. But is there any difference between RealD 3D and Imax Digital 3D? Here what we know.

First, the similarities

RealD 3D and IMAX Digital 3D both utilize passive 3D technology, which makes use of relatively lightweight eyewear. These passive 3D glasses use polarizing filters to allow each eye to see a slightly different image. This is why the glasses can sometimes seem darker in one eye than the other--it's meant to block out certain spectrums of light. The glasses at IMAX theaters are larger, to compensate for the larger field-of-view at those auditoriums.

Both these technologies are also digital, which means that you'll get a clean image and none of the image noise or "cigarette burns" that are visible from regular film projectors.

How they compare?

RealD 3D

The prevalent technology in 3D cinemas worldwide comes from RealD, an American company founded in 2003. The RealD 3D format is natively digital. This means that movies have to be produced in a digital 3D format for projection on film-less digital projectors. RealD cinemas also use a passive circular polarizing technique to achieve 3D which allows viewers a clear image even when turning or tilting their heads.Passive 3D TVs use circular polarizing technology, too. The first RealD 3D movie screened was Chicken Little in 2005.

IMAX Digital 3D

This is a competing format that's been around for a little longer. IMAX cinema auditoriums are well known for their massive, curved screens which fill a larger portion of your field-of-vision (FOV), or how much your eyes can see at any one time.

IMAX Digital 3D is an evolutionary improvement of the analog IMAX 3D theaters that have been around since 1986. Its long history is evident even in the much newer IMAX Digital 3D theaters since they still utilize the linear polarizing technology of its analog predecessors. Unlike RealD, IMAX 3D movies are less tolerant of head movements. Viewers have to avoid tilting their heads, though some turning--probably unavoidable due to the massive IMAX screen format--is possible. Also, IMAX screens are curved to fill an audience member's FOV, which enhances immersion while giving those sitting at the sides a better view of the action. IMAX Digital auditoriums also use two 2K projectors for 3D shows, which leads to a visibly brighter image through the glasses.

While many IMAX theaters these days are digital, there are still auditoriums with the analog IMAX 3D format in the US and some other countries. These auditoriums typically have a larger screen and correspondingly large projection equipment and tend to be used for documentaries instead of feature films, too. Omnimax theaters (recently renamed as IMAX Dome) are a variation of this analog format, but have a dome-shaped screen.

Why do IMAX Digital 3D movies cost more?

3D ticket prices vary across Asia but IMAX Digital 3D tickets typically cost more than their RealD 3D counterparts. In Singapore, a weekday ticket to a new movie at the Lido Cineplex starts at S$19 on IMAX Digital 3D while the average cinema with RealD 3D charges S$12 on average. At an AMC cinema in Los Angeles, a typical IMAX Digital 3D movie starts at about US$12, while the same movie on RealD 3D would be about US$2 cheaper.

Theater audiences are paying more for IMAX 3D movies for a few possible reasons. The first would be the consistent audio and visual quality across IMAX auditoriums, the generally larger screen (that's at a closer proximity to the audience) as well as a brighter image from the dual-projectors.

Of course, certain cinemas that use the RealD format for 3D scrrenings do have other selling points such as sharper 4K projectors, or better sound. An example of the latter would be auditoriums with Dolby Atmos setups, which can present more believable surround sound effects.

Just the facts

Aside from the larger screen size, there are other notable differences between IMAX Digital 3D and RealD 3D. RealD 3D projectors like Sony's 4K Digital Cinema models use a special lens to project 3D visuals which can provide viewers with up to four times the resolution of full-HD 1080p. However, not all RealD 3D auditoriums have 4K projectors--many feature 2K digital projectors--so you may have to check with your favorite cinema chain's Web site to find out which they use.

All IMAX Digital 3D theaters, on the other hand, use either Christie or Barco (since early 2012) 2K dual-projector systems which give twice the resolution of full-HD and a brighter 3D image. What this means is that RealD 3D auditoriums with 4K projectors can provide a visibly sharper image, especially with movies shot on similarly high-resolution cameras.

	IMAX Digital 3D	RealD 3D
3D technology	Linear polarizing	Circular polarizing
Projector	Dual projectors	Single projector (with 3D lens)
Screen	Silver coated	Silver coated
3D glasses	Large format (for larger screen)	Standard size
Audio	Uncompressed	Varies by theater

The 3D effect

To some, 3D movies should "pop" out of the screen, similar to what audiences experience with 3D rides at theme parks. Others prefer a more subdued 3D effect that stays behind the screen, adding a little more depth to the standard 2D fare.

Those who prefer the reach-out-and-grab-you effect might be partial to IMAX Digital 3D, which the company claims to excel at. Executive Vice President (Technology) of the IMAX Corporation, Brian Bonnick, says that Imax Digital 3D movies "can appear in front of the screen" which may be more lifelike. He also credits IMAX's "patented theater geometry", "proprietary wide-angle lenses" and brighter images for this effect.

If you're not a fan of props being hauled your direction or swords almost touching your nose, then RealD's 3D effects could be the alternative. While RealD technology is capable of extending beyond the screen, the screens used in these cinemas tend to be flat and positioned further from the viewer, which would minimize the coming-at-you effect. The 3D effect they produce would also be similar to what you'd experience on your 3D TV at home. Some videophiles also prefer the 3D effect to be behind the screen and not protruding from it, so that it does not serve as a distraction from the movie itself.

However, do keep in mind that some movies may be shot with effects coming out of the screen for dramatic effect--the James Cameron epic Avatar would be one example. Other movies, such as Prometheus by Ridley Scott, are shot with a more subtle effect, which can be equally believable. So it really isn't all about the 3D format, but which movie you're watching, too.

Is there a superior format?

IMAX Digital 3D vs RealD 3D movies, we'd say that the 3D effect is very comparable between these two formats. IMAX 3D does seem a bit more dramatic, due to the larger screen and closer viewing distance, but the way the movie was shot is equally important. There are, however, some notable differences.

IMAX screens are massive and curved, which should help improve your view of the screen and minimize ghosting--the appearance of a double-images that's prevalent on some 3D TVs. IMAX Digital 3D screenings should also be consistently brighter. IMAX says that its linear polarizing technology provides an "improved signal-to-noise performance over circular polarizers" and "allows more light through". However, keep in mind that this technology makes 3D movies less tolerant of movements, especially tilting your head sideways.

RealD 3D typically provides better viewing angles that allows viewers to tilt and turn their heads while watching. While 3D movie enthusiasts probably know that keeping their heads still minimizes ghosting or double-images, young children may not. RealD representative Rick Heineman believes that this flexibility is important for moviegoers who should be "free to sit comfortably".

Another frequently overlooked aspect is consistency. While RealD theaters are far more abundant, the venues only need to sport "compliant digital cinema projectors". This means that your moviegoing experience would depend on the type of projectors used by the cinema as well as the sound system installed--these can vary significantly depending on the brands of equipment used. IMAX theaters, however, have to meet standards for audio and image quality which means they'll look and sound more consistent across the board.

Cillian Murphy Cast in ‘Dark Knight’ Cinematographer Wally Pfister’s ‘Transcendence’

We can now report that Cillian Murphy has become the latest strong addition to the Transcendence acting roster, which means the project will mark the fifth occasion he and Pfister have worked together, after Batman Begins, Inception and Murphy’s cameo appearances in The Dark Knight and Dark Knight Rises.

Transcendence is based on a script by relative newcomer Jack Paglen, and tells the story of an artificial intelligence scientist (Depp) whose consciousness is uploaded into a supercomputer that he helped to design, after he is killed by a group of anti-technology terrorists; award-winner Rebecca Hall (Iron Man 3) will serve as the female lead, by playing Depp’s wife and fellow researcher.

Meanwhile, Latino Review, which has the exclusive on the latest casting update, is reporting that Murphy has “bagged one of the three male leads” in the film. He joins a cast that includes the aforementioned names, in addition to the supporting players Paul Bettany (the voice of Jarvis in the Marvel Cinematic Universe) and Kate Mara (American Horror Story, House of Cards).

When Freeman was cast, it wasn’t clear whether he is portraying a friend or foe of Depp and Hall’s characters, but it’s a fair bet that Murphy has secured the role of the anti-technology zealots’ leader. As mentioned before, he is an excellent actor, but also has a knack for being type-cast as the complicated antagonist and/or flat-out conniving villain (see: Batman Begins, Red Eye, In Time and Murphy’s cameo appearance in TRON: Legacy), which is an archetype that he plays quite well.

In related news: there’s a reasonable chance that Murphy will follow up his work on Transcendence by playing an expanded role as the dangerous programmer Edward Dillinger in TRON 3, which is steadily gearing up to begin production by next year. The Legacy sequel could begin filming around the time Pfister’s movie hits theaters in the spring, some 6-7 months before Nolan returns to the sci-fi genre with his next directing project, Interstellar.

Transcendence opens in U.S. theaters on April 25th, 2014.

Christopher Nolan Won't Be Doing Justice League, Man Of Steel May Open Doors To Larger Universe.

For as long as Warner Bros. has been talking about doing a Justice League movie, fans have questioned why the studio would choose against going the Marvel route - creating a cohesive cinematic universe that puts all of the superheroes together in one world. All signs have pointed to WB skipping solo comic book movies like Marvel did with Iron Man, Thor, Captain America: The First Avenger, and The Incredible Hulk, and instead jump straight to the team-up film that would put characters like Superman, Batman, Wonder Woman, Green Lantern and The Flash together on the big screen in live-action for the first time.

But with Zack Snyder's Man of Steel due out this summer, and new quotes from studio president Jeff Robinov, it looks as though the tide might be turning. 

For their latest issue, Entertainment Weekly had the chance to sit down with the executive to talk about the future of adapting DC Comics properties, and it looks as though the new Superman movie may actually end up leading into a bigger universe after all. "I think you’ll see that, going forward, anything can live in this world,” Robinov said when asked if there was a chance the film would contain references to other heroes in the DC canon. "[Nolan’s] Batman was deliberately and smartly positioned as a stand-alone. The world they lived in was very isolated without any knowledge of any other superheroes. What Zack and Chris have done with this film is allow you to really introduce other characters into the same world." 

And what's more, we may not have to wait until Man of Steel's June 14th release date to see some forward motion. "We’ll announce something in the next several weeks that will hopefully position the DC characters and the movies we’re going to be making," the studio president said. Does that mean more superhero solo movies will be announced? Could Justice League be potentially getting a release date? 

But now for the bad news: it looks as though Christoper Nolan really won't have anything to do with the future of the studio's comic book movies. In early March there were heavy rumours that the Dark Knight filmmaker would be returning to the DC fold and bringing Christian Bale's Batman back with him (it's also worth mentioning that he's a producer on Man of Steel). Sadly, however, it seems definitive now that Nolan won't be involved. Asked if the rumour was true, Robinov said, "No, no it’s not." (which makes sense given that the filmmaker is hard at work in Interstellar). What's more, it looks as though The Dark Knight Trilogy will be left behind as its own thing, but the studio president also added, "Where we go in the future is a whole other conversation."

I want to be typecast as an action hero: Vidyut Jamwal

I have proved that I can act: Vidyut Jamwal

"I am born to do action. I can't see myself doing anything else. It is not a good thing to say but I want to be typecast as an action hero. I don't want to do a movie that has no action," Jamwal said.

The 34-year-old actor started his Bollywood journey with a negative role in Force, starring John Abraham. He played the role of a dreaded gangster 'Vishnu' in the film which earned him the Filmfare Award for Best Male Debut.

Commando is the story of an Indian Army officer, who during a training session gets inside Chinese Border by mistake. The film chronicles his struggle to get back. 

Jamwal is a trained martial artist and is also proficient in the art of Kalaripayattu. He has performed all the action sequences and stunts in the movie by himself and without the help of cables.

"The USP of the movie is action. No cables were used in the movie. This is the first Indian movie that has achieved something like that," the actor said.

Jamwal, who plays the role of Captain Karanvir Dogra in the film, says his army background helped him in portraying his character in the movie.

Hollywood's ace action choreographer Franz Spilhaus along with Jamwal has directed the stunts for the high octane action film. Jamwal also runs a stunts group called 'Vidyut Jamwal stunts' where he trains 12 boys from the slums of Mumbai.

The actor, who essayed the role of a gangster in his debut movie believes that there are certain constraints in playing an antagonist in Hindi cinema as a villain cannot surpass or do more than the hero.

On the notion that models can't act, he said, "They said that if you do a negative role you will be a typecast and I got all the best debut awards for playing a negative role. I don't follow any pattern.

"I have proved that I can act. I am signed by Tigmanshu Dhulia, who is one of the best directors in the country. He only signed me because he knew I could act."

Commando will hit theatres on April 12. Producer Vipul Shah is also planning to make a sequel of the film if it does well at the box office.

The Dark Knight Rises: They Actually Dropped a Plane.

How The Aerial Stunt Was Filmed in The Dark Knight Rises?

Was the aerial stunt real, or computer-generated, in the opening sequence of 'The Dark Knight Rises'?

It was real, for the most part. Director Christopher Nolan doesn't like fake action scenes.

So, how in the heck did they film that already unforgettable six-minute scene?

The sequence was filmed in Scotland. The dark "CIA turboprop" took off from Inverness airport. The sequence was filmed over the Cairngrom Mountains of the Scottish Highlands. The lonely Cairngroms have been described as "Britain's highest mountain range - incredibly cold, incessantly windy and one of the harshest environments" in the British Isles. The aircraft debris without hitting anyone or anything on the ground.

The stunt reportedly took three days to film in early July 2011.

Airborne, the CIA turboprop is shown being followed by a huge white cargo plane. This is a Lockheed C130 Hercules, of the type used by the United States Military. The Lumbering C130 an ideal vehicle for a stunt such as this, because its stall speed is as low as 96.5 Knots (111 m.p.h); so, a camera crew in a helicopter was easily able to match the speeds of the planes and record the exterior action.

For the action going on inside the CIA plane, a simulator was built at studios in Cardington, England; the director could rotate, shake and twist the fuselage while the actors inside tumbled around - almost as if they were weightless.

When the C130 is above the CIA aircraft, its rear cargo ramp is lowered and four stuntman drop down from it, tethered to cables.

At some point here - during a sequence of quick edits - the CIA plane is replaced by a glider mockup that had been towed aloft from the Cairngorm Glider Club in nearby Feshie.

The stuntmen climb around on the glider. It tips, and the wings blow off (negative aerodynamics). A small pyrotechnic device pops the tail off.

The idea is to get the villain Bane off the CIA plane, with the help of the stuntmen on  cables, before the cables are released. The remains of the glider are then cut loose and sent crashing to the ground - making it look like all On-board were killed.

The stuntmen with Bane and a kidnapped scientist (did you "get" the bit about pumping his DNA in another victim, to make it look like the scientist was killed in the crash?) then are supposedly pulled back up into the C130.

During practice takes, the stuntmen then parachuted to the ground. Look closely in the production stills and you can see the stuntmen are all wearing parachutes. But in the final take, the director said they were able to be drawn back up into the C130 with no problem.