Doing the math, it seems that IMAX film cameras have a foggy and unknown future. The next generation of IMAX film cameras is delayed, and the demand for shooting 15-perf has significantly reduced. These are our two cents.

Nex-Gen IMAX film cameras are being delayed

Why do we think that there’s a delay in the release of the new IMAX film cameras? The reason is that those cameras were supposed to be operational in 2024 (this year). However, at this year’s NAB, IMAX has presented only the rendering of the prototype. Thus, there’s also a way to go till the cameras can be utilized on an actual shoot. All we have is these superficial computer graphic models and nothing more. At the NAB Show, IMAX stated: “We’re planning to build four of these to start so we’ll have four new ones. The prototype will be out in early fall at this point and then probably after that’s going to get in the hands of some of DPs”. The specifications were published as well:

• 30% quieter than existing IMAX film
• More table and even film exposure
• All new multi-layer carbon fiber body and structure
• All new technology & functionality improvements throughout the camera design
• A new brighter Optical Viewfinder designed by Panavision
• Metadata capable
• Embedded data via SDI to On-Set Playback to allow for visible data overlays for both on-set and editorial use
• Gigabit Ethernet and USB-C interface
• WiFi and Bluetooth connectivity
• Live on-set dailies from the new digital viewfinder in 4K resolution
• Hi-resolution 5-inch full-color LCD with updated physical buttons for core functions
• New full-function remote-enabled for increased shooting flexibility
• user profiles for custom screen functionality layouts and far more camera controls and operational status than previously possible
• multiple options for any desired frame line Aspect Ration Overlays
• Standard and user-definable
• visual frame-line guides displayed on the DI output

Nevertheless, only rendering images were shown. At this stage, IMAX needs to reveal a photo of these cameras, and not just dull images. Hence, it will take time till we see one on a shoot.

Demand is getting low

In an interview with Collier, IMAX CEO Rich Gelfond mentioned that during 2025-2026, only one to two movies will be shot using IMAX film cameras, although there are 9 operational IMAX cameras. Here’s the question by the Collider: “You announced a whole bunch of movies for 2025. Which of those films, if any, are being shot with IMAX film cameras?”. Then Gelfond answered: “Ryan Coogler is shooting the film that stars Michael B. Jordan on IMAX film cameras. I think there’s one or two others under discussion but they haven’t been announced yet, and there’s one for ‘26 that we’re starting to work on that’s going to be shot with IMAX film cameras”. It needs to be admitted that the main booster for the IMAX film camera is Christopher Nolan. In fact, IMAX as a company depends on one director, as he is the only one who shoots only with an IMAX film camera, together with his IMAX cinematographer and cinematic partner, Hoyte van Hoytema. Nolan will definitely use the Nex-Gen of those cameras.

Cannibalization by IMAX-certified digital camera

Many directors that aim for the IMAX have decided to utilize digital cameras which are IMAX-certified instead of shooting with IMAX film. These are the certified cameras: Sony VENICE, ARRI ALEXA Mini LF, LF, 65, Panavision DXL2, and RED DSMC2 VV. Moreover, there are more cinema cameras that IMAX lets directors shoot with and are not defined as ‘Certified’. In a sentence, you can shoot on many digital cinema cameras and present your movie on a huge canvas (=IMAX theater). Here’s what Gelfond told to the Collider when asked: “How important is it to you that future movies that are being done in IMAX are shot on IMAX film cameras versus IMAX digital cameras or IMAX-ready cameras?” Gelfond: “I think it depends on the project. For very special movies, heavily filled with special effects, I think they’re better served on digital cameras because it’s easier to insert the computer graphics. But I think for certain kinds of stories — it’s kind of like vinyl. I grew up in the age of vinyl. I just love the resolution, I love the look and feel of it. So it depends entirely on the movie. And also, there’s a higher cost of film cameras, so I think the film cameras need to be reserved for something really special that’s gonna kind of jump out at you. Otherwise, just as happy to have it on digital cameras”.

Closing thoughts

We love IMAX film cameras. It’s the best format out there. IMAX film cameras deliver the most beautiful, natural, and cinematic imagery than any other top-notch digital cinema camera by far. IMAX 15/70 must be preserved at any cost, and for that, IMAX as a company has a holy rule in our industry. Our slogan: “Go IMAX or go home!”. Unfortunately, not many directors and cinematographers think that. It must be said, that IMAX depends on one man, which is the greatest Christopher Nolan. We hope that the new IMAX cameras will get to the market ASAP, and their simplicity will convince filmmakers to tell their story with this superior format.