The OMNIMAX lens on the Fujifilm GFX 100. Picture: Jay P. Morgan
The OMNIMAX lens on the Fujifilm GFX 100. Picture: Jay P. Morgan

IMAX Projector Lens (OMNIMAX) + Medium Format Camera (GFX 100)= Ultra Wide (and Epic) Shots

2021-10-04
2 mins read

Photographer Jay P. Morgan has made an ultra-cool and educational experiment. Morgan attached an IMAX theater projection lens (OMNIMAX) to a medium format camera (Fujifilm GFX 100). The results are super intriguing, by presenting 180° wide-angle shots with a shallow depth of field.

Photographer Jay P. Morgan and the OMNIMAX lens. Picture: Jay P. Morgan
Photographer Jay P. Morgan and the OMNIMAX lens. Picture: Jay P. Morgan

IMAX dome theater lens:  OMNIMAX

The lens used for this experiment is the OMNIMAX dome theater Projection lens. This giant lens was made by Iwerks Entertainment, a company founded in 1985. While it is now known as SimEx-Iwerks, the company still produces high-tech entertainment systems, films, film software, and other entertainment devices. The OMNIMAX has originally been used to project large-format film such as 15 perf/70mm that uses an image area 10x larger than the standard 35mm format, on a dome. Omnimax premiered in 1973, showing Voyage to the Outer Planets (produced by Graphic Films) and Garden Isle (by Roger Tilton Films). IMAX has renamed the system “IMAX Dome”, but some theaters continue to call it “Omnimax”.

The OMNIMAX lens on the Fujifilm GFX 100. Picture: Jay P. Morgan
The OMNIMAX lens on the Fujifilm GFX 100. Picture: Jay P. Morgan

Dome projection

As explained, the IMAX image is projected onto a giant vertical screen which can be ten times the size of a conventional screen, as much as seven stories high. The counterpart OMNIMAX system presents an extraordinary experience when images are projected to fill 86% of the surrounding dome screen of a planetarium. Both IMAX and OMNIMAX projection systems use the largest film frame in motion picture history. The dome system, which the San Diego Hall of Science called “Omnimax”, uses films shot with a camera equipped with a fisheye lens that squeezes a highly-distorted anamorphic 180° field of view onto the 65 mm IMAX film.

IMAX:

  • IMAX= 70mm, 15 perforations/frame
  • 1.91″ x 2.74″ Area = 5.23 sq. in.
  • 48.5mm x 69.6mm Area = 3376 sq. mm

OMNIMAX:

  • OMNIMAX= 70mm, 15 perforations/frame
  • 2.00″ x 2.74″ (Elliptical) Area = 4.30 sq. in.
  • 50.8mm x 71.25mm (Elliptical) Area = 2775 sq. mm

Source of info: In70mm

The OMNIMAX lens on the Fujifilm GFX 100. Picture: Jay P. Morgan
The OMNIMAX lens on the Fujifilm GFX 100. Picture: Jay P. Morgan

OMNIMAX on a large-format sensor

Veteran photographer Jay P. Morgan, took the OMNIMAX lens and paired it on a medium format sensor camera. In that case, the Fujifilm GFX 100. By the way, this lens is one of a kind and can’t be found. Morgan was lucky enough to buy it at a garage sale. The OMNIMAX paired on a large sensor produces ultra intriguing images. First of all, the medium format sensor covers the entire field of view which is 180°. Second, the object which is in the middle is in focus, and the background is blurred. Note that it’s a very fast lens (f2.0). However, keep in mind that this lens is made for projecting and not for taking pictures. Add to this the unique purpose of the lens (dome screening), which leads to fascinating wide-angle results.

The OMNIMAX lens on the Fujifilm GFX 100. Picture: Jay P. Morgan
The OMNIMAX lens on the Fujifilm GFX 100. Picture: Jay P. Morgan

Explore Morgan’s fascinating experiment below:

Product List

Here’re the products mentioned in the article, and the links to purchase them from authorized dealers. 

YMCinema is a premier online publication dedicated to the intersection of cinema and cutting-edge technology. As a trusted voice in the industry, YMCinema delivers in-depth reporting, expert analysis, and breaking news on professional camera systems, post-production tools, filmmaking innovations, and the evolving landscape of visual storytelling. Recognized by industry professionals, filmmakers, and tech enthusiasts alike, YMCinema stands at the forefront of cinema-tech journalism.

Leave a Reply

Your email address will not be published.

Get the best of filmmaking!

Subscribe to Y.M.Cinema Magazine to get the latest news and insights on cinematography and filmmaking!

Recent Posts

Get the best of filmmaking!

Subscribe to Y.M.Cinema Magazine to get the latest news and insights on cinematography and filmmaking!

Samsung Published a Presentation of its 8K Mobile Sensor: The ISOCELL HP1
Previous Story

Samsung Published a Presentation of its 8K Mobile Sensor: The ISOCELL HP1

iPhone13 Pro’s ProRes Maximum Bitrate is 92MB/sec (5.5GB/minute)
Next Story

iPhone13 Pro’s ProRes Maximum Bitrate is 92MB/sec (5.5GB/minute)

Latest from Educate

Go toTop

Don't Miss

Behind the Scenes of the F1 Movie: Sony’s Secret 6K Camera Finally Revealed

Behind the Scenes of the F1 Movie: Sony’s Secret 6K Camera Finally Revealed

The much-anticipated Formula 1 movie directed by Joseph Kosinski continues to generate massive buzz—not only because of its thrilling racing sequences and IMAX-first…
Blackmagic URSA Cine 17K 65 vs. FUJIFILM GFX ETERNA: A Knockout in the Medium Format Cinema Arena

Blackmagic URSA Cine 17K 65 vs. FUJIFILM GFX ETERNA: A Knockout in the Medium Format Cinema Arena

The cinema camera world is buzzing with two major contenders vying for dominance in the affordable medium format battlefield: FUJIFILM’s GFX ETERNA and…