IMAX

Origins and founding

The origins of IMAX trace back to the Multiscreen Corporation, founded in September 1967 by Canadians Graeme Ferguson, Roman Kroitor, Robert Kerr, and William C. Shaw. The company initially experimented with multi-screen presentations but soon focused on creating a single, massive screen image for greater impact. The key technological breakthrough came from a novel film transport mechanism called the 'Rolling Loop,' purchased from Australian inventor Peter Ronald Wright Jones. This mechanism was essential for handling the large-format film that would become central to the IMAX system because conventional projectors could not manage the intermittent movement of film with fifteen perforations per frame. William Shaw adapted this technology, adding a compressed air 'puffer' to accelerate the film and incorporating a cylindrical lens in the projector's aperture block, which allowed for the stable projection of images at a much larger scale than previously possible.

The company changed its name to IMAX around 1970, a change reflected in a key patent filed on January 16, 1970, which was still assigned under the original name Multiscreen Corporation, Limited. The name was invented by the founders during a lunch in a Hungarian restaurant in Montreal, derived from the concept of 'maximum image.' IMAX Chief Administration Officer Mary Ruby later clarified that 'IMAX' is a made-up word, not an acronym, as descriptive names cannot be trademarked. This rebranding coincided with the refinement of the proprietary projection system. The first demonstration of the IMAX format was the film Tiger Child at Expo '70 in Osaka, Japan, which presented the potential of the large-screen experience to an international audience.

The first permanent theatres

The world's first permanent IMAX theatre was the Cinesphere at Ontario Place in Toronto, which opened in May 1971 with the film North of Superior. This installation cemented IMAX's Canadian roots and provided a public venue dedicated to the format. The Cinesphere was renovated and reopened in November 2017, equipped with both IMAX 70 mm and IMAX with Laser projection systems. Another early landmark was the massive 27 by 20 metre screen in the US Pavilion at Expo '74 in Spokane, Washington, which was the world's largest movie screen at the time. About five million visitors viewed the short film Man Belongs to the Earth on that screen, with many reporting a sensation of motion due to the screen covering their total visual field, and some even experienced motion sickness.

That temporary screen was replaced by a smaller permanent theatre in 1978, which was later demolished in 2018. Following protests, the City of Spokane worked with IMAX Corporation to demolish the 1978 theatre on the condition they renovate the former US Pavilion itself into IMAX's first permanent outdoor giant-screen theatre. Concept art for this renovation was released in 2017, with plans for seating for more than 2000 people, though the structure's materials were expected to last only five years due to weather conditions. The first permanent IMAX Dome theatre opened in 1973 at the Reuben H. Fleet Science Center in San Diego, combining the format with planetarium capabilities. Canada also saw the first permanent IMAX 3D theatre, built at Canada Place in Vancouver for Expo '86 for the film Transitions, which remained in operation until September 30, 2009.

Technological evolution and formats

The core of the original IMAX experience is the 15/70 mm film format, where 65 mm film stock runs horizontally through the camera and projector, using 15 perforations per frame. This produces a frame area of 69.6 mm by 48.5 mm, much larger than the 48.5 mm by 22.1 mm frame of conventional Todd-AO 70 mm film, resulting in significantly higher image resolution. The film moves through the camera at 102.7 metres per minute at 24 frames per second, which is three times the length of film stock required for a comparable 65 mm film. Projecting this format requires specialized, costly equipment and purpose-built theatres with very large screens, typically in a 1.43:1 aspect ratio. This original large format is often called Grand Theatre (GT) and is designed to fill almost the entire audience's field of vision for a deeply immersive experience.

To make IMAX more accessible to existing cinemas, the company introduced scaled-down systems. The IMAX SR system in 1998 used slightly smaller screens in dedicated auditoriums but maintained the 1.43:1 aspect ratio. The MPX system in 2004 allowed for the retrofitting of existing multiplex auditoriums with wider screens, losing much of the quality of the GT experience. A major shift occurred with the introduction of purely digital systems. IMAX Digital, launched in 2008, uses dual 2K digital projectors on screens with a 1.90:1 aspect ratio, a technology that helped grow the global screen count from 300 in 2007 to over 1000 by 2015. IMAX with Laser, introduced in 2014, offers 4K resolution and enhanced colour and contrast. These digital systems enabled rapid expansion but were criticized for often having smaller screens and an order of magnitude less resolution than film projectors, leading some enthusiasts to derisively label them 'LieMAX' due to marketing that did not clearly distinguish the differences.

Camera systems and film production

IMAX film cameras are large, complex, and noisy due to their vacuum film transport systems, which originally made synchronized sound recording for quiet scenes difficult. They hold only about three minutes of film stock, and the large film frame creates an extremely shallow depth of field when shooting with an open aperture. For decades, these were the only cameras capable of capturing native IMAX footage, with the camera negative being 65 mm film that runs horizontally. In March 2022, IMAX announced a new initiative in collaboration with Kodak, Panavision, and FotoKem to develop a new fleet of next-generation IMAX film cameras, with filmmakers like Christopher Nolan and Jordan Peele advising on specifications for the prototype phase.

By May 2024, IMAX CEO Richard Gelfond revealed that four new identical cameras would be made, which are 30 percent quieter than the existing models. The Wall Street Journal reported these new cameras would be constructed from carbon fiber and titanium and would feature a five-inch colour display with wireless capability. These were introduced as the Keighley IMAX cameras, named in honour of IMAX's late Chief Quality Officer David Keighley and his colleague and wife, Patricia. Alongside film, IMAX has developed and certified digital cameras. The Phantom 65 IMAX 3D digital camera debuted in 2011 and was first used in the documentary Born to be Wild, with about ten percent of that film shot using the system. The Arri Alexa IMAX 2D camera, based on Arri Alexa 65 technology, followed in 2015 and was used extensively on Avengers: Infinity War and Endgame, and for Transformers: The Last Knight, two cameras were combined in a rig to provide native 3D.

The 'Filmed for IMAX' program was launched by IMAX in September 2020. This program certifies high quality digital cameras that can be used to create IMAX format films. Certified cameras include the Sony CineAlta Venice, which was used on Top Gun: Maverick, and the Arri Alexa LF and Mini LF, used on Dune. As the scope of certified cameras expands, it becomes easier for filmmakers to create films that meet the projection needs of IMAX giant screen theatres. IMAX has stated it has no intention of replacing its higher resolution film cameras with digital ones and has no plans to produce a film solely with a digital system.

Sound, projection, and film handling

IMAX uses a separate, six-channel sound system rather than embedding a soundtrack on the film itself, which maximizes the usable image area. Originally, this used a synchronized 35 mm magnetic film, a technology similar to that used in the earlier Cinerama process and akin to the Vitaphone disc system of the early 20th century. By the early 1990s, a six-track digital system using proprietarily encoded CD-ROM discs locked to the projector with SMPTE time code was adopted. In the late 1990s, this was upgraded to an uncompressed audio file played from a hard drive, converted directly to analogue. Sound is delivered through a specific speaker configuration with left, centre, and right channels behind the screen, a top-centre channel for height, and rear surround clusters arranged as speaker groups rather than a spaced array like in a Dolby system.

IMAX with Laser projection adds another six channels of sound, including four overhead speakers and two extra side surround speakers, for a more immersive 12-channel experience. The projection technology itself is a feat of engineering. The 'rolling loop' mechanism, combined with a vacuum system to pull the film into contact with a cylindrical lens, allows the large-format film to be transported and projected steadily at the required 586x magnification. Film platters for features can be up to 1.83 metres in diameter to accommodate up to three hours of film and weigh 250 kilograms, requiring special forklifts for handling. Projection booths must be carefully climate-controlled, kept between 20 and 23.8 degrees Celsius with 50 percent humidity, to prevent the ESTAR-based print film from swelling or shrinking, as the pin registration system does not tolerate variations in film thickness or sprocket holes.

Expansion into mainstream cinema and market presence

IMAX's expansion beyond documentary and institutional settings began in earnest with the digital projection systems introduced in 2008. By late 2017, there were 1,305 IMAX systems installed in 75 countries, with 1,205 in commercial multiplex cinemas, 13 in commercial destinations, and 86 in institutional settings. Less than a quarter of those installations retained the capability to show the original 70 mm film at its full resolution. While this broadened access, it also created a tiered experience where many theatres marketed as IMAX had significantly smaller screens and lower resolution, a point of contention for audiences who felt the differences were not made clear.

The format's adoption by major Hollywood filmmakers propelled its commercial success. Directors like Christopher Nolan have been staunch advocates for shooting on IMAX film. Major blockbusters, including the Avengers series, Dune, and Top Gun: Maverick, have been shot either partially or entirely with IMAX film or IMAX-certified digital cameras. Films like Transformers: The Last Knight used two Arri Alexa IMAX cameras in a rig to provide native 3D, with 98 percent of the film comprising IMAX footage. This integration has made IMAX a premium viewing option for event cinema. As of the mid 2020s, upcoming films like The Odyssey, shot entirely with IMAX film cameras by Christopher Nolan for release in July 2026, and Dune: Part Three, scheduled for October 2026, continue to drive the format's relevance in the industry, with these films promoted as part of the IMAX Experience.

IMAX in Canada today

Canada remains an important market and operational base for IMAX, with corporate headquarters in Mississauga, Ontario. The historic Cinesphere in Toronto continues to operate as a flagship venue, having been renovated during Ontario Place's redevelopment and hiatus. IMAX theatres are now common in commercial multiplexes across the country, operated by chains like Landmark Cinemas, which have renovated locations to include IMAX and Laser Ultra auditoriums. For instance, Landmark Cinemas locations in Whitby and Kingston feature IMAX auditoriums, part of a broader trend of theatre renovations to include premium formats as noted in recent funding announcements.

The first permanent IMAX installation was built at the Cinesphere theatre at Ontario Place in Toronto, Canada, and debuted in May 1971. The first permanent IMAX 3D theatre was built in Vancouver, British Columbia, for Expo '86. IMAX Corporation was founded by Graeme Ferguson, Roman Kroitor, Robert Kerr, and William C. Shaw in September 1967, and they developed the first IMAX theatre projection standards in the late 1960s and early 1970s in Canada. The IMAX brand is associated with a distinctive, immersive movie going experience that originated from Canadian innovation.

Questions about IMAX

Where was the first permanent IMAX theatre?

The first permanent IMAX theatre in the world is the Cinesphere at Ontario Place in Toronto, Canada. It opened in May 1971, debuting with the film North of Superior. The Cinesphere was renovated and reopened in November 2017, equipped with modern IMAX 70 mm and IMAX with Laser projection systems. This historic venue remains a key part of Canada's cinematic landscape.

What is the difference between IMAX film and IMAX Digital?

IMAX film refers to the original 15/70 mm format, which uses physical film stock run horizontally through the projector. It offers the highest resolution and is typically shown on very large screens in purpose-built theatres. IMAX Digital, introduced in 2008, uses dual 2K digital projectors, often on smaller screens retrofitted into existing multiplexes. While more affordable and widespread, IMAX Digital has roughly an order of magnitude less resolution than the film format, a distinction that has been a point of contention among enthusiasts.

Can regular movies be shown in IMAX?

Yes, since 2002, many mainstream feature films have been converted or formatted for IMAX presentation. Some are partially shot with IMAX cameras, while others are digitally remastered. The 'Filmed for IMAX' program certifies high-end digital cameras, allowing more films to be created specifically for the format. Blockbusters like Avengers: Endgame, Dune, and Top Gun: Maverick have all been released in IMAX, often with expanded aspect ratios for scenes shot with IMAX-certified equipment.

Why are IMAX tickets more expensive?

IMAX tickets typically cost more due to the premium technology involved. The construction and maintenance of large screens and specialized projection and sound systems are costly. A feature film platter for the 70 mm format can cost $36,000 to print and is extremely expensive to produce and ship. Furthermore, the immersive experience, with its steep stadium seating and powerful audio, is marketed as a premium product. The higher price also reflects the licensing fees theatres pay to the IMAX Corporation.

Are new IMAX film cameras being made?

Yes, IMAX is developing a new generation of film cameras. Announced in March 2022 in collaboration with Kodak, Panavision, and FotoKem, the project aims to create cameras that are quieter and more modern. As of May 2024, IMAX CEO Richard Gelfond confirmed four new cameras are being built, which will be 30 percent quieter, made from carbon fiber and titanium, and feature a colour display with wireless capability. These have been named the Keighley IMAX cameras in honour of a late IMAX executive.

Sources: Wikipedia and current public reporting, checked by the Your Space Hamilton desk. Last updated 2026-10-18.