00:00I'm Chris Miller. I am Phil Lord. We are the directors and producers of Project Hail Mary.
00:10We are here at IMAX headquarters in Playa Vista, California, where we QC all of the prints for the IMAX
00:18versions of Project Hail Mary.
00:20The guys work down here. This is Irving. This is the format that we designed the movie for.
00:24So this is your film right here. How long you been doing this?
00:27We've been for 30 years. You are an expert. This is what we were looking at on set.
00:31We shot in Alexa 65, which is a digital format, but with a really big sensor.
00:35The film was shot for large format in the 1-4-3 aspect ratio for IMAX.
00:40There's three different versions of the movie in IMAX.
00:42One of them we're super excited about is the 70 mil 15 perf IMAX version.
00:47There's also the digital version of that, also at 1-4-3 and 2-3-9, and then a 1
00:52-8-5, 2-3-9 version, depending on the theater.
00:55And then our cinematographer, Greg Frazier, used a film-out process that he used on the Batman and the Dune
01:01movies to take the digital footage and put it through film stock so that the film would have the warmth
01:07that only film can give you.
01:08Anywhere you watch the movie, you are seeing something that's been put on cellulite.
01:13And then we lower it down?
01:14Yeah.
01:15Unspinning.
01:16Whoa!
01:17It's so cool to be here.
01:18Hey, okay!
01:19Roll it!
01:19Let's roll a picture!
01:21Project Hail Mary is this collision of scale and sound and intimacy.
01:27There's no better way to experience that than in an IMAX theater.
01:30The
01:31Doctor
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