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super 16 in 2.35: ratio


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#1 RICHARD GREATREX

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Posted 23 July 2007 - 05:39 AM

Has anybody had experience or heard about shooting a theatrical feature on Super 16 in a 2.35: 1 ratio and then going via a Digital Intermediate to 35 mm release print.I know BULLET BOY shot S16, 2.35 but that went a direct optical route

Thanks
Richard Greatrex
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#2 David Mullen ASC

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Posted 23 July 2007 - 07:48 AM

"Never Die Alone" (DP Matthew Libatique) did that.
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#3 RICHARD GREATREX

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Posted 23 July 2007 - 03:21 PM

"Never Die Alone" (DP Matthew Libatique) did that.

thanks for that Richard
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#4 Leo Anthony Vale

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Posted 23 July 2007 - 03:29 PM

'Irreversible' and 'The Last King of Scotland' were Super16 superscope with a DI.
Both also have 35mm bits.

'Wonderland' 1999 was also Super16 2.35/1, but is probably too early to be DI.
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#5 Adam Thompson

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Posted 23 July 2007 - 03:35 PM

Just Like the Son (2006) was S16 and released 2.35. Shot by Yaron Orbach. You can read an article in Kodak's In Camera magazine- Not sure what month. I think they said how pleased they were with the image and were excited about the outcome in the end.
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#6 chabrol

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Posted 15 August 2007 - 08:26 AM

[quote name='Leo Anthony Vale' date='Jul 23 2007, 09:29 PM' post='184548']
'Irreversible' and 'The Last King of Scotland' were Super16 superscope with a DI.
Both also have 35mm bits.

Wasn't IRREVERSIBLE a TRONCHET-SCOPE?

["Le système Scope 16mm de Thierry Tronchet. Ce système permet donc maintenant la prise de vue anamorphique en 16mm standard (deux rangées de perforations contre une pour le Super 16). Cette invention repose sur la transformation des objectifs sphériques « 35mm » ou « 16mm » (sans lentille anamorphosante) en objectifs Scope par l?adjonction d?une anamorphose à l?avant de l?objectif principal. C?est un bloc optique anamorphosant semblable à un objectif de gros diamètre que l?on vient disposer devant le premier objectif. Le bloc a sa propre rampe de mise au point, il convient donc de pousser le premier objectif à une distance de mise au point infinie. Ce système est la plupart du temps utilisé sur une caméra Aaton car leur ergonomie est la plus compatible au système.
A noter que l?utilisation de ce système requiert une grande concentration et une bonne préparation de la part de l?assistant caméra qui doit tenir compte de certaines spécificités optiques quant à l?utilisation du Tronchet-Scope. Un gros travail est aussi nécessaire en post-production pour le gonflage en 35mm Scope en vue de la projection.
Thierry Tronchet, avant tout technicien et assistant caméra a collaboré dès l?invention de son système avec Gaspar Noé.
Carne, Seul Contre Tous, La Bouche de Jean-Pierre ou encore Irréversible sont maintenant des vrais exemples de l?utilisation du Cinémascope en 16mm, reconnus par le monde de l?image cinématographique.
Preuve de cette riche collaboration, l?apparition de Thierry Tronchet dans le rôle d?un homme au bar au début de Seul Contre Tous.
Un grand merci à Thierry Tronchet pour son invention qui a donné un véritable avenir au format 16mm.
Pour votre information, « Japon » de Carlos Rigadas est aussi un grand exemple au niveau de l?utilisation du Tronchet-Scope."]
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#7 Leo Anthony Vale

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Posted 15 August 2007 - 03:00 PM

Both also have 35mm bits.

Wasn't IRREVERSIBLE a TRONCHET-SCOPE?


NO. Some Noe movies are, but not this one. There was a short article on it in an American Cinematographer, but that issue is not on line & antyway, the short takes section is seldom put on line.

http://imdb.com/titl...90673/technical

http://imdb.com/title/tt0290673/trivia

"The entire film was shot on Super 16, telecined to high-def video for color tweaking and editing, and then exported to Super 35. For many of the handheld shots, the director used the smallest existing 16mm camera, the Minima."

The Tronchet-Scope system uses a 35mm anamorphic attachment from the 50s. Would you know what one it is? Franscope? Totalvision?

"Japon" demonstates that wide angle lenses are not usable in Tronchet-Scope.
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