Jump to content


3 perf and 2 perf


  • Please log in to reply
5 replies to this topic

#1 ariel

ariel
  • Guests

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,
  • 0

#2 Kevin Masuda

Kevin Masuda
  • Sustaining Members
  • 209 posts
  • Director

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
  • 0

#3 Stephen Williams

Stephen Williams
  • Sustaining Members
  • 4708 posts
  • Cinematographer
  • Europe

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
  • 0

#4 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 19759 posts
  • Cinematographer
  • Los Angeles

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.
  • 0

#5 Miguel Bunster

Miguel Bunster
  • Basic Members
  • PipPipPipPip
  • 301 posts
  • Cinematographer

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
  • 0

#6 Stephen Williams

Stephen Williams
  • Sustaining Members
  • 4708 posts
  • Cinematographer
  • Europe

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
  • 0


Technodolly

The Slider

Willys Widgets

Glidecam

Visual Products

FJS International, LLC

Opal

Tai Audio

rebotnix Technologies

Ritter Battery

Paralinx LLC

Media Blackout - Custom Cables and AKS

CineLab

Metropolis Post

Aerial Filmworks

Wooden Camera

Broadcast Solutions Inc

CineTape

Gamma Ray Digital Inc

Abel Cine

Rig Wheels Passport

Visual Products

rebotnix Technologies

Gamma Ray Digital Inc

Abel Cine

Aerial Filmworks

Paralinx LLC

Ritter Battery

Media Blackout - Custom Cables and AKS

Opal

CineLab

Broadcast Solutions Inc

FJS International, LLC

Willys Widgets

Glidecam

Rig Wheels Passport

Technodolly

Tai Audio

Wooden Camera

Metropolis Post

CineTape

The Slider