In the 1980s, This Unique Camera Transformed Astronauts into Cinematographers for the First IMAX Film Shot in Space

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The groundbreaking work, “The Dream Is Alive,” celebrates its 40th anniversary this year

Lillian Ali – Staff Contributor

April 16, 2025 4:41 p.m.

A career in space exploration requires both extensive education and rigorous training. Typically, American astronauts are expected to possess a master’s degree in a STEM discipline, accumulate at least two years of relevant work experience, or log a minimum of 1,000 hours as a pilot-in-command on a jet. In addition, candidates must successfully pass NASA’s long-duration flight physical examination before commencing official astronaut training. This process includes microgravity simulations, military water survival training, and a 250-foot swim in full flight gear.

Some astronauts, however, gain added skills in cinematography. Documentaries captured during space shuttle missions provide a tangible connection to the experience of space travel, according to Jennifer Levasseur, a curator at the Smithsonian’s National Air and Space Museum. One such immersive documentary is The Dream Is Alive, marking its 40th anniversary this June. This was the first IMAX film to be shot in space, presenting a unique perspective on NASA’s space shuttle program.

“Experiencing the film on a large screen allows audiences to feel part of the action, which made it profoundly impactful,” Levasseur explained.

Directed by Graeme Ferguson, co-creator of the IMAX format, and narrated by the esteemed Walter Cronkite, The Dream Is Alive chronicles NASA’s space shuttle missions, filmed by 14 astronauts during three different missions in 1984. The film was later released in theaters in 1985. To commemorate this significant milestone, the National Air and Space Museum recently hosted a panel discussion featuring former astronaut Marsha Ivins and cinematographer James Neihouse, moderated by Levasseur.

Neihouse recounted his unique role, stating, “I’m the only director of photography who has to educate a first unit on film techniques but cannot be present on-site.” From Mission Control in Houston, he managed the production, guiding astronauts on their shooting schedules and ensuring that vital footage was captured. Much of the material filmed by the astronauts was later utilized in The Dream Is Alive or other documentaries.

Shooting in IMAX presents its own challenges due to the size of the cameras and the requirements of using extensive film formats to capture richer imagery. A 70mm IMAX camera, utilized for filming The Dream Is Alive and further shuttle mission footage, is part of the museum’s esteemed collection. According to Levasseur, it stands as the largest camera in their assemblage. Modifications made to the camera, such as adding Velcro and protective bumpers, facilitated its use by astronauts in the confined quarters of the shuttle.

In her remarks during the panel, Ivins emphasized the diverse responsibilities astronauts had in their roles: “We were trained to be the camera operators, the lighting and sound technicians, directors, actors, and more. Every job you see in filmmaking, we had to perform.”

Levasseur noted that Ivins holds the distinction of being affectionately dubbed the “quintessential astronaut photographer” among her peers. Although she was not directly involved in the actual filming of The Dream Is Alive, her contributions as an astronaut were significant. She recounted capturing footage during her water survival training that was ultimately deemed unusable, humorously recalling a moment when she had to fend for herself in the water while being observed by a film crew.

“While I was trying to stay afloat, a boat with the film crew approached, and though I was not drowning, I managed to express my discomfort with a hand gesture,” Ivins shared with the audience.

Alongside a talented crew of astronauts, the film benefited from the expertise of industry leaders, including Ferguson and sound designer Ben Burtt, known for his iconic work in the Star Wars franchise. Neihouse remarked on Burtt’s dedication during one particular shoot, highlighting a moment when Burtt stopped to record the sounds of wild pigs caught by trappers.

Canadian filmmaker Toni Myers, recognized for her extensive work with IMAX documentaries, also played a crucial role in the film’s production, providing guidance to the astronauts in their new roles as filmmakers. Ivins highlighted the fondness with which crews remembered Myers, who encouraged them to be creative: “She said, ‘You are the director up there. Be imaginative and give it your all.’” Ivins also humorously recalled Myers’ advice regarding unexpected encounters in space, asserting to capture everything, even if it included spotting an alien.

Despite the numerous challenges faced while creating The Dream Is Alive, the endeavor ultimately succeeded in making the wonders of space more accessible to wider audiences. Before the film’s debut, representations of space were largely limited to still images and low-quality video footage. IMAX documentaries revolutionized that experience, bringing a new depth to how people engage with the concept of space travel.

“Astronauts have told me, ‘It’s almost as good as being there.’ Some have even suggested it’s better since they enjoyed music in the film and didn’t have to deal with the risks of spaceflight,” Neihouse noted.

The immersive quality of the documentary owes much to the specialized equipment utilized, a “purpose-built piece of machinery that achieved remarkable results,” Levasseur explained. Though cumbersome and tricky to handle, the IMAX camera enabled astronauts to truly blend the art of cinematography with the awe-inspiring environment of space.

“The focus, lighting, and training for filming it all combined to create what is nearly an ideal picture,” Ivins said. “It’s as close as one can get to experiencing space firsthand.”

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