IMAX for All? – The Rise of 65mm Format Cinema Cameras and Cine Lenses
A DCS Content Contribution from Rafa Laperal and Oli Laperal Jr of RSVP Film Studios, Manila, Philippines
Let’s go back to the late 1950s when 65mm film was first introduced. It was a big deal back then, giving filmmakers a larger frame size, higher resolution, and visuals that really stood out—perfect for epic movies like Around the World in 80 Days (1956). This format wasn’t just about size; it was about making cinema larger than life.
Fast forward to 2014, and ARRI dropped the Alexa65. It was a bold move, and honestly, it paid off. The Alexa65 became known for its amazing image quality—something filmmakers and audiences couldn’t stop talking about. This camera pretty much brought 65mm back to life in the digital world.
Now, in 2024, the industry feels like it’s moving at lightning speed. Full-frame cinema cameras are everywhere, and the options are great, but let’s be real—they can also be overwhelming. There’s just so much gear to choose from these days.
But what really caught my attention this year is how 65mm format tech is taking off. At NAB 2024 in Las Vegas, Blackmagic showed off their URSA Cine 17K 65. In Japan at Interbee 2024, Fujifilm teased their GFX Eterna Cinema camera and a Fujinon 32-90mm lens. Then ARRI announced the Alexa 265, which is just a tiny bit bigger than the Alexa 35. These announcements almost doubled the number of 65mm cameras out there. It’s exciting to see more options popping up for filmmakers.
Lenses for 65mm Filmmaking to the best of my knowledge
Prime Lenses:
– Leitz Thalia
- ARRI Rental Prime 65 DNA
- ARRI Rental Prime 65 S
– ARRI Rental Prime 65
– ARRI Rental Vintage
- Cooke Panchro 65
– TLS Mamiya 645
– White Point Optics WPO TS70
- Tribe7 Blackwing7
– SMF (Soviet Medium Format) Cinema Lenses
– Panavision System 65
Zoom Lenses:
– ARRI Rental Zooms
– Hawk 150-450mm T2.8
– Zeiss Compact Zoom 100-280mm T4.0
– Viltrox Luna 42-420mm T5.6
- Fujinon 32-90mm
– Panavision System 65
Right now, if you’re looking for 65mm cameras, your options are the ARRI Alexa 65, IMAX-certified cameras, ARRI 765, and Panavision. But the good news is, three more cameras are expected to come out in 2025. And when it comes to lenses, there’s already a solid lineup—though some are exclusive to ARRI Rental and Panavision, which makes things tricky if you’re not working directly with them.
What’s Next for 65mm?
Here’s the thing: 65mm tech has the potential to change the game. It offers stunning image quality that’s a big step up from what smartphones and mirrorless cameras can do. The idea of making this format more accessible to filmmakers is exciting. Imagine indie filmmakers creating epic visuals with 65mm gear—that’s the dream, right?
But let’s be honest—the costs are still a huge hurdle, especially for smaller productions or rental houses like ours in the Philippines. Plus, there’s a learning curve with new tech like this. Still, I think it’s worth keeping an eye on. Will manufacturers give us more affordable options? Maybe. Fingers crossed.
So, what do you think? Is 65mm the future of filmmaking, or is it just another trend? Let’s talk about it.
Written by Rafa Laperal and Oli Laperal Jr of RSVP Film Studios, a full-service filming facility in Manila, Philippines
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