Sumit

Movie Maker • currently studying @ Filmakademie BW • some (political) tweets in/about 🇩🇪 (some to fight Nazis) • layout by @ganylus • all pronouns

[Sumit @MovieSumit]

THREAD of films I am watching at #EnergaCAMERIMAGE2025 🧵

[coffee @eventualforever]

sickest poster ever

[s ♡₊˚🦢・₊✧ @h0neyndmilk]

wasn’t prepared for how beautiful this would be. it’s somehow more entrancing in person

[DiscussingFilm @DiscussingFilm]

Steven Spielberg says it’s been fantastic to see the success of ‘OBSESSION’ and ‘BACKROOMS’.

“I think it’s great that they had basically very little money, especially ‘Obsession’ that had under $1M and ‘Backrooms’ had maybe $10M or $9M. They're doing so well and I applaud them

I haven't seen ‘Backrooms’, I’m going to see it when all this is over but I have seen ‘Obsession’ and I loved it.”

[Jim Cummings @jimmycthatsme]

I don't know who needs to hear this, but go make your movie.

[Joseph Miscimarra 🇺🇸 @jmisci]

This week I came across the obituary of a photographer named David Plowden. I was unfamiliar with his work, but decided to browse his website after reading that he specialized in photos of trains and industry.

I’m not much of an art guy, but these photos are astonishing. (1/4)

[blauereiter @blauereiter]

Was just re-visiting the LOTR trilogy on 4K UHD recently and the cloth and hair-sim for Legolas in this shot is really quite impressive given that The Two Towers were made way back in 2002, and the tech was nowhere as advanced as what we have today. #VFX

[Noah @noahs_corner]

Me listening to Anne Hathaway explain IMAX

[samuel @samuelcm88]

i don’t think enough people realize how big it is that we’re getting a new steven spielberg movie in a week

[Alison Herman @aherman2006]

me after securing tickets for christopher nolan's the odyssey (2026)

[Brendan Hodges @metaplexmovies]

getting the vibe people may in fact be excited for THE ODYSSEY

[Adam Hlaváč @adamhlavac]

Had some fun and cut together a "formats" trailer showing off the various PLFs and aspect ratios you can experience THE ODYSSEY in.

[HD MOVIE SOURCE @HDMOVIESOURCE]

The Spielberg Spotlight Collection is the biggest technical flex we’ve seen all year. Eight films. Eight 4K masters. All sourced from the best restorations Universal, Sony, and Paramount have ever done. Jaws in Dolby Vision and HDR10+. Close Encounters with all three cuts. Raiders rebuilt in Atmos. E.T. and Jurassic Park in full DTS:X. Schindler’s List, Saving Private Ryan, and War of the Worlds all in Atmos with reference‑grade mixes. Every disc is a BD‑100. Every film gets its own SteelBook. Over 25 hours of extras across the set. This is Spielberg’s entire legacy rebuilt in premium 4K, finally unified in one library case. A limited run of 5,700 units for the U.S. and Canada. The cleanest these films have ever looked. The strongest they have ever sounded. A true collector piece.

More Pictures
https://t.co/DJRQXPfVsk

#PhysicalMedia #StevenSpielberg

[Sumit @MovieSumit]

The Goat.

[claire rowden @clx1re]

took my dad, aka the man who introduced me to spielberg all those years ago, to his first ever premiere to see his latest movie 🥹

[Sumit @MovieSumit]

@adamhlavac Thank you for finding the words so that I can just point everyone to this tweet who asks

[Adam Hlaváč @adamhlavac]

Keep seeing people post that IMAX 70mm is just 4:3 TV or that the extra top and bottom of the frame doesn't add anything. You just have a misunderstanding of IMAX photography.

To accomodate other formats, Chris Nolan and Hoyte Van Hoytema use ground glass (Pic 1) etched with guides to appropriately frame every shot. This ensures Nolan can mostly center punch for every deliverable.

That's also why IMAX tends to be center-framed (Pic 2). The filmmakers want you looking dead center at what's happening while the rest of the image melts away into your peripheral vision. The idea is that when you're watching IMAX 70mm on a massive 60-100' screen, all you see is the movie. No masking, no screen frame, nothing. It's meant to fully immerse the viewer.

The size of the film negative and use of wide open lenses supports this in intimate moments because of the shallow depth of field. The image is tack sharp exactly where your eyes should be.

For wider shots and action sequences, there will usually be an important object(s) close to center frame that helps guide your eyes to surrounding parts you need to focus on (Pic 3). This is also why Nolan's movies translate well to widescreen formats like 70mm, 35mm, and other 2.39:1 screens.

He's not thinking about the height or width of the image independently, but as one giant canvas.

There's negative space above peoples heads because if you pushed their heads to the top of the frame and the next shot had an important action in the lower third, you'd spend the majority of the movie pivoting your head up and down and across the massive screen (Pic 4). Exhausting.

This is also why Nolan and other filmmakers crop from 1.43 to 1.78 for Blu-ray. The idea with the IMAX sequences is that they expand and use every inch of screen real estate. Pillarboxing 1.43 footage when intercut with 2.39 scenes makes the IMAX images appear smaller since they don't take up the full width of your screen. Footage should expand vertically, just like in theaters.

I get that tons of people watch stuff on their phones and laptops these days, but you have to understand the original intention - the theatrical experience - and not you sitting at home watching the movie on your 15" Macbook, 6" phone screen, or TV that's probably 5 ft too far from your couch.

Apologies for the long rant. 🤘🎞️