In what should be exciting news for movie fans everywhere, we are learning that J.J. Abrams has shot some of Star Trek 2 in IMAX as well.

However, we shouldn’t take the news as a complete surprise considering images from the set show an IMAX camera is present. The film will still be converted into 3D, as well. We still don’t know how much was shot using the IMAX format or how much of what was shot will make it into the theatrical cut, but knowing that Star Trek will be presented in a true IMAX format is comforting. I’m sure everyone prefers true IMAX over its horrible digitally converted one.

Yesterday, we posted a pair of set photos from the Los Angeles location shoot of Star Trek 2. Six more photos have emerged from the production and you can check them out here below.

Much like the ones released earlier, the set pics are taken from the filming of a fight scene involving Spock (Zachary Quinto), Uhura (Zoe Saldana), and the film’s still-unnamed villain played by British actor Benedict Cumberbatch. In the sixth picture, in addition to Quinto and Cumberbatch with their stunt doubles you can clearly see the IMAX camera being used to capture the action.

A new clip from the upcoming Mission Impossible: Ghost Protocol has been released. You can watch it here below.

It’s basically a chase scene, and those are a dime a dozen these days, but this one has an interesting hook. The scene involves Ethan Hunt (Tom Cruise) pursuing an unknown person on foot and in a car while a sandstorm rages. With his vision obscured by the storm Hunt has to rely on a tracking device to find his quarry, which adds a measure of suspense to the chase. I also like that Michael Giacchino, who scored the previous MI flick, is back on composer duty.

Back in December 2007 Warner Bros. sent out the opening bank robbery sequence from the then-forthcoming The Dark Knight attached to IMAX screenings of I Am Legend. It was a risky move on the studio’s part and it didn’t take long for the footage to leak online, but it paid off splendidly the next year and was one of the highlights of Warner’s aggressive marketing campaign for the movie, particularly as it provided an early showcase for the production’s beautiful IMAX cinematography (several scenes from the movie were shot in the format). Therefore, it would make sense for the studio to go with what has proven successful in the past in regards to the marketing for next summer’s The Dark Knight Rises.

When all is said and done Tron: Legacy is going to be the movie of the year for me, regardless of whether or not it lives up to its boundless potential or the exciting previews that have been trickling out of the Mouse House’s mighty marketing division.

The original 1982 Tron is one of my personal favorite films of all time; I love just about everything about it, from the performances to the snappy writing to the musical score by Wendy Carlos (with awesome contributions from Journey) to the spectacular visual effects which gave the film a look that has and always be ahead of its time.

There’s a timeless, ethereal beauty to the computerized world of Tron that could never be dated in my mind and only grows as a cinematic work of art with each passing year as most video game-based and influenced films seem to embrace a grittier look deprived of any sense of wonder or imagination. It’s an absolutely perfect film to me so the idea of a sequel emerging nearly three decades after the release of the original both excites me and fills me with dread.

Be sure to click over to get a little taste of Daft Punk’s Tron: Legacy score!