Make no mistake: Immersive is the key word, thanks to the astonishing success of The Polar Express IMAX 3D, which created an event-like atmosphere because of its quality and fanfare, dwarfing, for many, the conventional 2D theatrical experience. Some would argue, in fact, that IMAX’s achievement with Polar Express not only created enough momentum and word of mouth to drive ticket sales way north of $120 million, but may also prove to be an ancillary boost as well when it comes to added DVD units purchased by prestigious retailers such as Wal-Mart and higher pay cable advances paid by HBO and Showtime. Little wonder that Polar Express in 3D will become a holiday perennial at IMAX theaters.

But this is precisely what IMAX had in mind when it started investing in its breakout DMR conversion of blockbusters to compete with the coming of high-def home entertainment, along with its growing network of theaters (255 worldwide, including Central America, China, Russia, India and Pakistan). The business plan was to eventually convert live action 2D to 3D using DMR. And next year IMAX expects to launch three 3D movies, with possibilities ranging from Warner Bros.’ The Poseidon Adventure and Superman Returns to Sony’s next peformance capture CGI title, Monster House. Meanwhile, the number of commercially viable IMAX theaters to play Hollywood movies has expanded to about 100.

“It is the suite of tools that Imax provides that distinguishes the IMAX 3D experience,” explains Greg Foster, chairman and president of IMAX Filmed Ent. “The IMAX brand tells consumers this is going to [look good.] The geometry of the theater, the sound, the maintenance of the theater, the slant of the screen, which helps provide a more immersive experience. Plus we provide three sets of glasses per seat, so you know not only that they work but that they’re clean. And so when you add it all up, the IMAX 3D experience, in my opinion, is the best presentation cinema has to offer.”

Sony Pictures Imageworks president Tim Sarnoff, whose company collaborated with IMAX on the 3D conversion, agrees, “The Polar Express was a challenge for everyone to create a wholly different experience of an animated film at the same time we were creating an animated film. But the experience was stimulating to the artists and they wanted to engage in that. It also happens to be the first of these 3D projects that elegantly fits into our workflow because we were able to utilize the designs and suddenly create a new viewing environment that the audience otherwise wouldn’t be able to see. It’s a different experience when an audience member sits in a theater and sees things on a 2D plane. To some extent, it’s like working in 2D — you still don’t feel the depth. You get moved by the story either way. But, boy, was there a difference. Polar Express looked like a living View-Master. And there are different points of view of how you are engaged in that View-Master. Is the plane your viewing more like a window pane or is it more like you are in the middle of it. So it’s a whole other level of participation. I truly believe that 3D is going to grow.”

To convert a live action film like The Matrix Reloaded would be costlier and more challenging than a CGI transfer like The Polar Express.

In considering live action, which, at around $5 million, costs more than a CGI conversion for IMAX, Sarnoff adds, “For the animated film, we have all of the environments, so you have a different level of 3D work that you can apply when you’re in complete control. In live action, you’re reduplicating some of the plates that were provided to you. I think the experience can be satisfying in both [2D and 3D], but the process is different. When you’re doing a 3D movie, the earlier in the process that you can prepare, the better. For example, you do not want the primary action to break the main plane so that if you go beyond the top and bottom of the screen, it defeats the 3D experience. It has to be formatted properly to take advantage of the 3D experience. There are certain projects that lend themselves well to 3D and it’s an ongoing conversation that we are having within the facility.”

As its own test, IMAX recently converted two minutes of Spider-Man 2, which looks dazzling as Spidey webslings his way across New York City and thwarts villainy in a much more dynamic way.

Rob Engle, the digital effects supervisor for The Polar Express IMAX 3D, adds that it was a very good learning experience for his crew of 60 animators plus support staff. “We really didn’t know 3D before working on Polar Express. We learned a few tricks that make for a more immersive 3D experience. Rather than throwing objects at you, the idea was to bring the viewer into the environment and let them fit and soak it up, whether it was falling snow or puppets in the background. We effectively increased the depth of field and gave you so much more to look at. I refer to it as eye candy.”