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3 perf and 2 perf


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#1 ariel

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Posted 20 August 2006 - 02:46 PM

Hi, can you explain me about 2 or 3 perf? how does it work? how does it work in the final step when going for a print? and for telecine before? and if it save money why not working like this all the time?
thanks,
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#2 Kevin Masuda

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Posted 20 August 2006 - 03:03 PM

2 perf: http://jkor.com/peter/techniscope.html
3 perf: www.arri.com/products


Those sites should explain everything. 2 perf saves a lot of money on film but the cameras are harder to find and some labs aren't equipt to handle 2 perf, although I've heard that I think it's either an Ursa or Spirit telecine machine can handle 2 perf no problem. I can't remember which one.


Kev

Oops, I think I gave you the wrong address for the 3 perf. Just go to Arri.com and go into products/cameras and click on the Arri studio and then drop down to the bottom and you'll see Camera Technology: 3 perf system. Click on that.

Kev
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#3 Stephen Williams

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Posted 20 August 2006 - 03:08 PM

Hi, can you explain me about 2 or 3 perf? how does it work? how does it work in the final step when going for a print? and for telecine before? and if it save money why not working like this all the time?
thanks,


Hi,

There are several threads if you do a search.

The camera is modified to advance the film 2 or 3 perfs instead of 4. For 3 perf the lens will almost always be recentered for S35. For 2 perf probably not as older cameras will be used therefore it may not be possible to recenter the lens easily. 2 perf can be optically blown up to anamorphic. 3 perf will usually go down the DI route.

At present no new camera can be bought in 2 perf.

A Spirit telecine can run 2 or 3 perf without modification.

You will save money for sure if you go direct video, but not necessarily if you need a print.

Stephen
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#4 David Mullen ASC

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Posted 20 August 2006 - 06:30 PM

The thing to remember is that 35mm theatrical print projection is all 4-perf, matted widescreen or scope -- so any final negative made for printing has to be in either of those two formats. So if you shoot 2-perf or 3-perf, or even 4-perf Super-35, Super-16, etc. you have the extra costs of conversion, either digital or optical, to a standard 4-perf 35mm sound projection format.

But for telecine transfer only, 3-perf is becoming more and more common for 35mm.

2-perf makes a lot of sense if you're only a budget, especially if you want a 2.35 image -- the problem is the lack of modern sync-sound cameras in 2-perf.
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#5 Miguel Bunster

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Posted 17 October 2006 - 12:10 PM

Hi,
Can you explain more of this?
"2-perf makes a lot of sense if you're only a budget, especially if you want a 2.35 image -- the problem is the lack of modern sync-sound cameras in 2-perf." You most of 2 perf cameras are MOS?
Thanks
Miguel
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#6 Stephen Williams

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Posted 17 October 2006 - 12:22 PM

Hi,
Can you explain more of this?
"2-perf makes a lot of sense if you're only a budget, especially if you want a 2.35 image -- the problem is the lack of modern sync-sound cameras in 2-perf." You most of 2 perf cameras are MOS?
Thanks
Miguel


Hi,

No new camera is available today in 2 perf. Aaton Penelope scheduled for later this year will be available in 2 perf, 3 perf & 4 perf from the factory.

Most 2 perf cameras are converted Kinor's, Mitchell's, Arri 2's, Arri BL's,and an Ultracam, or original Techniscope cameras. In other words old low cost cameras.

Stephen
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