So we saw the 1st project of the Las Vegas Sphere, which is ‘Postcard from Earth’ directed and filmed by Darren Aronofsky on the Big Sky huge format 316MP18K camera. Defining it as an ‘IMAX on steroids’ would be an understatement.

Sphere=IMAX on steroids

As fans of the huge canvas (=IMAX!), one of the first things we did when staying in Vegas was to go see the Sphere. YMCinema was among the first that write about this very special medium. Before waiting for a movie on it, we defined it as IMAX on steroids. However, after watching Darren Aronofsky’s Postcard from Earth, we can conclude that this definition is an understatement of this whole insane experience. The Sphere is not just a giant screen, but much more than that. Proportionally, it’s X20 the size of the largest IMAX. It’s a multi-sensory experience, including super enhanced sounds (much better than IMAX), wind blowing, vibrating chairs, and more.

Shot on Big Sky

Now, we know that ‘Big Sky’ does not sound like an appealing name for a super high-end cinema camera like VENICE, RED (hmmm sorry – we meant Nikon), and ALEXA. Sphere needs to use a sexier name for what this camera is capable of. As a reminder, Big Sky is the camera that shoots for the Sphere platform in Las Vegas. It’s armed with a huge (9.92 cm × 8.31 cm) 316MP, HDR CMOS image sensor that is capable of shooting 18K resolution at 120FPS, and 14.5 stops of DR. It outputs 32 gigs per second and paired with a 270-degree lens. This lens shoots ultra-wide imagery that covers the rounded huge screen of the Sphere. Every pixel counts and every pixel looks amazing.

A multiple-operator camera

Big Sky can’t be solely operated. Nor the ARRI ALEXA 65, however, Big Sky needs a whole team behind it, as it’s a beast. The image must be tested after the shoot on a dedicated screen in order to verify that it fits the unconventional screen. BTW, the beginning of Postcard from Earth was shot on the ALEXA 65, and then the screen is dramatically expanded and the Big Sky takes over. The camera was well utilized and even used underwater. It’s interesting to reveal the underwater housing of Big Sky, as we can expect housing similar to IMAX underwater housing. Thus, there are some outstanding underwater ocean shots, and you feel like you are in a dive, as whales are above you.

It will take time till we see the next James Bond/ Fast & Furious/ Transformers on the Sphere. For that, we need a brave director who will take it as a main project (can someone call Christopher Nolan?)

The sound is as strong as the picture

The sound system of Sphere is like the imagery, which is a one-of-a-kind. The sound plays a critical role in the whole experience. Hence, it’s an IMAX on steroids for the sound as well. As for the camera, don’t expect any fast camera moves. Filming this project was an easy task from this perspective as the camera stays static or on a dolly/crane moving slowly. The camera was located on a helicopter as well. However, we don’t think the Big Sky was operated on the shoulder. Maybe we should call Hoyte van Hoytema to fix that. The name of the game here is LOCATIONS. The locations are..well…WOW. And the imagery is WOW, and the sounds are WOW. The ticket is not so wow as it’s expensive for a 50-minute movie. It should cost much more than IMAX, but it’s costly. Here’s a few footage we shot from the screening. 

Will we see the next James Bond movie on Sphere?

It will take time till we see the next James Bond/ Fast & Furious/ Transformers on the Sphere. For that, we need a brave director who will take it as a main project (can someone call Christopher Nolan?). Nevertheless, it will not be so economical for the studios as this platform exists only in Vegas. On the other hand, there are only 30 theaters that can screen IMAX 70mm film…Anyway, a film needs to be directed and shot specifically for the Sphere, and on the Big Sky camera and lens, and that changes the whole storytelling. So it will take some time to adapt. But the potential is there, and it’s huge!