Post Production Supervisor on some of the most technically complicated IMAX movies ever made. All sourced from from a variety of film formats smaller than IMAX-- which is technically 70mm wide, and utilizing 15-perfs of the film stock (in the image below, the far left example), to create a massive 4:3 image ratio frame.
These films were all trying to visually tell stories which hadn’t been told before, the extreme-sports themed Summer-X Games, for instance, base jumping off the Fjords of Norway-- stories where a pre-digital IMAX camera couldn’t go.
So the filmmakers shot everything they could with smaller form-factor cameras, utilizing smaller film stocks such as: 8-Perf 70mm (the second from the left above), Vista-Vision® (which is 8-perf 35mm-- the second in from the right), standard 4-perf 35mm (the far right example), 16mm, and in a few cases, 8mm and video.
My job as Post-Production Supervisor was to make sure these smaller than IMAX film formats were blown-up to the IMAX film format and seamlessly incorporated into the finished film. Then married with sound, and successfully brought to the silver screen as a finished product.
- Ultimate X: The Movie, IMAX (Disney)
- Shackleton’s Antarctic Adventure, IMAX (WGBH/NOVA)
- ROAR: Lions of the Kalahari, IMAX (Nat. Geo)
- Adrenaline Rush, IMAX (Sky High Entertainment)
- Roving Mars, IMAX (Disney)
- Shrek3D, IMAX (10 minute re-animation in 3K 3D of original feature)
- The Cinematographer’s Test: 24P vs. 35mm Film (Kodak)
ASSOCIATE PRODUCER/VFX SUPERVISOR:
Before any of the massive IMAX work, I did a tour at the celebrated B-Movie power-house, Troma, Inc., "Home of the toxic Avenger". Every letter or email I would send out into the world would start with, "Greetings from Tromaville!" And so it goes, to quote Vonnegut.
- “The Class of Nuke 'em High, Part 2: Subhumanoid Meltdown”, Troma, Inc.
- “The Class of Nuke 'em High, Part 3: The Good, Bad and the Subhumanoid”, Troma, Inc.