Not a filmmaking term — no entry. Optimax was a 1990s theatrical presentation format, not a production standard for handbooks.
Optimax III Inc. is not an established film term in the production or post-production lexicon. The confusion often arises because "Optimax" emerged in the 1990s as a cinema presentation format—a proprietary image enlargement technique for 35mm prints that ran in select theaters. However, this was a distribution and exhibition standard, not a production term you would need on set or in the edit suite.
What matters on set and in post: If you are working with actual optical formats—VistaVision, IMAX, DCP standards, anamorphic lenses—these are the terms that end up in shooting schedules and editing workflows. Optimax was more of a marketing label for specific cinema presentations, comparable to premium formats that emerged later. The industry never truly incorporated such proprietary playback standards into production terminology because they had no direct influence on shooting methods, lighting, or editing sequences.
If you encounter "Optimax"—perhaps in older distributor information or archival documents from the 90s—it refers to an exhibition specification, not a production requirement. This fundamentally distinguishes it from formats like Anamorphic or Super 35, which determine your lens choice and image composition during shooting. For modern productions, this term is long obsolete; DCP standards and digital intermediate processes have displaced such niche presentation formats.