Striving For The Ultimate Image

Ken Baker and Hugh Murray

At seven a.m. on a cold winter Sunday in Toronto, a large truck and several cars pull up at a suburban swimming pool. Out of the truck comes all the paraphernalia of the movie business: lights, scaffolding, boxes full of camera accessories, a large white crate containing the one and only IMAX SOLIDO 3-D camera, and a large plywood box—its outsides gleaming with many coats of resin and sporting a bulbous acrylic dome as a window on one of its sides.

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