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#1 Alex Corn

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Posted 20 April 2006 - 11:57 AM

I've been hearing a lot about super-35 lately and I'm slightly confused as to what it is. As far as I can tell, it's 3-perf with the optical track being used for more image area, and it creates a native 1.85 aspect ratio. Is this correct? Are the advantages to this format just economical? What disadvantages are there? I'm sorry if this has already been discussed, I did a search on the forums and only came up with the topic when it came up in other conversations. Thanks very much.
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#2 Nathan Milford

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Posted 20 April 2006 - 12:44 PM

Take a gander at this Wikipedia article.

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#3 Alex Corn

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Posted 20 April 2006 - 01:09 PM

Take a gander at this Wikipedia article.

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That is extremely helpful, thank you.
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#4 timHealy

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Posted 20 April 2006 - 01:36 PM

That is a good article Nathan.

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.

Best

Tim
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#5 Nathan Milford

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Posted 20 April 2006 - 02:43 PM

Right-o.

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.


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#6 timHealy

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Posted 20 April 2006 - 09:59 PM

Let me know if you need some help. I am in the NYC area. I am very busy right now (as all of NYC is) so the more advance word the better. Weekends are best right now.

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.

Best

Tim
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