The film was scanned at an ultra-dense
11K resolution, and the team would pluck certain shots out in the 3.6:1 ratio. Interestingly, it worked with the majority of shots in the film.
“That’s because when you’re framing for IMAX, the lower third of the frame is where the audience’s attention is, and that’s how you try to frame it,” Atkins says. “The top of the frame, you don’t often put important information up there. So you can actually extract a more narrow aspect ratio out of that frame and it still works.”