Posted 20 April 2006 - 11:57 AM
Posted 20 April 2006 - 01:36 PM
I was actually a little surprised to find that most of the films I have worked on in the past year are shooting Super 35, 4 perf with anamorphic framing. Most shoot with the lens centered and one used a common header.
Even Scorsese's the Departed by Michael Ballhaus did it. The article suggests it is a good format for low budget productions, but it is a viable alternative to shooting anamorphic for any production. Ceratinly with Kodaks stock being so great these days (IMHO), a smaller negative area is not much of a factor.
Posted 20 April 2006 - 02:43 PM
I'm quite interested in 2-perf right now. I'm gearing up to shoot some tests at the moment comparing Scope, 2-perf, S35 and S16 w/ 2.35 extracted. The format uses roughly the same real estate as S35/2.35 and with modern lenses and stocks will yield results as good as S35/2.36 and the 50% stock/processing/dailies savings should help you on your way to a 2K D.I.
Posted 20 April 2006 - 09:59 PM
Though 2 perf could be an option for filmmakers looking for cost savings, I would think most producers would want to protect the 4 perf area safe for 1.33 televisions even though the theatrical release was framed for scope. When I worked on the first two seasons of Sopranos they protected everything for what ever format turned up in the future. But hey I am not a producer so perhaps I am talking out of my ass.