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2 perf techniscope


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#1 Joe Walker

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Posted 03 January 2006 - 05:38 PM

Hey guys,

If one was to have an Arri 2B converted to 2 perf techniscope, what is the post production/lab process like with this format? Are there only certain labs that can handle this? Also, will all 35mm lenses cover this format? I'm just trying to understand the format a little bit better. Let me know if any of you get a chance. Thanks.

Joe Walker
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#2 Stephen Williams

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Posted 04 January 2006 - 03:30 AM

Hey guys,

If one was to have an Arri 2B converted to 2 perf techniscope, what is the post production/lab process like with this format? Are there only certain labs that can handle this? Also, will all 35mm lenses cover this format? I'm just trying to understand the format a little bit better. Let me know if any of you get a chance. Thanks.

Joe Walker


Hi,

Normal 35mm lenses will cover. Processing is not an issue

A Spirit should be able transfer the material. A scanner would scan 2 frames at a time, a software fix could handle the data.

For a photochemical finish then a 2 perf gate is needed by the Lab, not many labs have one!

Stephen
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#3 Joe Walker

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Posted 04 January 2006 - 11:03 AM

Wow, thanks. Besides the fact that you shoot less film what are the other advantages to techniscope? And forgive my ignorance, but how is Super 35mm different? It's 3 perf right?
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#4 David Mullen ASC

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Posted 04 January 2006 - 11:36 AM

Wow, thanks. Besides the fact that you shoot less film what are the other advantages to techniscope? And forgive my ignorance, but how is Super 35mm different? It's 3 perf right?


Super-35 can be 3 or 4-perf -- it really just means Full Aperture photography rather than Sound Aperture (i.e. not using the left edge of the negative because that's where the soundtrack goes, hence why Super-35 is not a projection format and has to be converted at some point to a standard sound aperture format.)

The 2.39 image in 2-perf is slight smaller than the 2.39 image you extract from 3 or 4-perf Super-35. This is is because 2-perf Full Aperture is 2.66 : 1, so you don't use the whole width of the negative to achieve 2.39.

The other advantage is the fact that you get twice the running time per mag.

The biggest disadvantage is that there are hardly any 2-perf cameras in existence, especially any modern sync-sound ones. There is that Australian company Multivision-235 with some converted Moviecams. The other disadvantage is that to create non-widescreen TV versions, you'd be panning & scanning just like with anamorphic photography.
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#5 Stephen Williams

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Posted 04 January 2006 - 11:40 AM

Wow, thanks. Besides the fact that you shoot less film what are the other advantages to techniscope? And forgive my ignorance, but how is Super 35mm different? It's 3 perf right?


Hi,
.
Camera is quieter, mags last twice as long.

Super 35 is 4 Perf, however 3 perf is ususlly recentered to S35 center, it will cover 16x9 or 1.85:1.
Some older camras converted to 3 perf are normal 35 3 perf. Cameras such as Arri II or III will have issues with the shutter hitting the rear element when the lens center is shifted, the viewfinder does not cover the full soundtrack area in any case.

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#6 Joe Walker

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Posted 04 January 2006 - 05:24 PM

Wow, thanks for all the informative feedback guys. So answer this for me:

The vast majority of my work is with SD, HD, and occasionally Super 16. I also like to collect old cameras and such. Anyway, would it be rational to buy an Arri 2B-BV (model with the variable shutter), have it modified by Aranda Film Group in Australia to 2 perf techniscope, have the turret mount removed and replaced with either a hardfront PL or BNCR mount, add a Visual Products video tap, and a Thoma crystal motor? It's primary functions would be mostly for commercials and music videos as well as just playing around and occasionally shooting some obscure artsy short films. I don't intend for the footage to be projected in a theatre via a 35mm projector. I've chosen the Arri 2B-BV for the fact it has a variable shutter (which I've been told the popular 2C does not), is somewhat inexpensive, simple to operate, and should be easy to fix/repair/modify. I like 2 perf techniscope because it saves film and is widescreen. I've learned from my past two music video experiences that having a variable shutter and a camera that can shoot at least 40fps for slow-mo is a real must, not to mention widescreen seems to be popular as well.

So does my idea seem rational in what I'm saying here, or do I need to examine other avenues/ideas?


Thanks again,
Joe Walker
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#7 Stephen Williams

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Posted 05 January 2006 - 03:37 AM

Wow, thanks for all the informative feedback guys. So answer this for me:

The vast majority of my work is with SD, HD, and occasionally Super 16. I also like to collect old cameras and such. Anyway, would it be rational to buy an Arri 2B-BV (model with the variable shutter), have it modified by Aranda Film Group in Australia to 2 perf techniscope, have the turret mount removed and replaced with either a hardfront PL or BNCR mount, add a Visual Products video tap, and a Thoma crystal motor? It's primary functions would be mostly for commercials and music videos as well as just playing around and occasionally shooting some obscure artsy short films. I don't intend for the footage to be projected in a theatre via a 35mm projector. I've chosen the Arri 2B-BV for the fact it has a variable shutter (which I've been told the popular 2C does not), is somewhat inexpensive, simple to operate, and should be easy to fix/repair/modify. I like 2 perf techniscope because it saves film and is widescreen. I've learned from my past two music video experiences that having a variable shutter and a camera that can shoot at least 40fps for slow-mo is a real must, not to mention widescreen seems to be popular as well.

So does my idea seem rational in what I'm saying here, or do I need to examine other avenues/ideas?
Thanks again,
Joe Walker


Hi,

I have been thinking about 2 Perfing my cameras. However as an owner operator I think 3 Perf is a safer bet for me.

Cheers

Stephen
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#8 Michael Baltazar

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Posted 30 January 2006 - 07:40 PM

Hi,

I have been thinking about 2 Perfing my cameras. However as an owner operator I think 3 Perf is a safer bet for me.

Cheers

Stephen


I'm debating the same issue between going 2-perf/3-perf. Why are you deciding on 3-perf?
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#9 Stephen Williams

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Posted 31 January 2006 - 03:47 AM

I'm debating the same issue between going 2-perf/3-perf. Why are you deciding on 3-perf?


Hi,

If I convert a camera to 3 perf, I can use the camera, for any production that finishes digitally.. Most of my work ends up on Television 16x9 so 3 perf makes more sense. I am not so keen on shooting 2 perf then cropping the edges, as there would be little advantage over S16.

Stephen
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#10 Michael Baltazar

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Posted 31 January 2006 - 10:01 PM

Hi,

If I convert a camera to 3 perf, I can use the camera, for any production that finishes digitally.. Most of my work ends up on Television 16x9 so 3 perf makes more sense. I am not so keen on shooting 2 perf then cropping the edges, as there would be little advantage over S16.

Stephen


What percentage is cropped off the edges? It seems it would still be twice the surface area over S16, and you get 35mm depth of field. Resolution wise, what is the difference between 2-perf and super 35 cropped to 2.35? The 20min. long takes on 1000' rolls is what attracts me.
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#11 David Mullen ASC

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Posted 31 January 2006 - 11:28 PM

What percentage is cropped off the edges? It seems it would still be twice the surface area over S16, and you get 35mm depth of field. Resolution wise, what is the difference between 2-perf and super 35 cropped to 2.35? The 20min. long takes on 1000' rolls is what attracts me.


Well, since the 1.85 area off of 2-perf is smaller than standard 4-perf 1.85, you would be using slightly shorter focal lengths to compensate and gaining a little more depth of field, although not as much as you would if shooting in Super-16.

Super-35 cropped to 2.35 is about 2 1/2 perfs worth of film vertically, and the Full Aperture width horizontally. 2-perf 2.35 is Academy width and 2-perfs tall, of course.
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