Jump to content


Photo

Good 2perf, Bad 2perf, Ugly 2perf.


  • Please log in to reply
2 replies to this topic

#1 Paul Bruening

Paul Bruening

    (deceased)

  • Sustaining Members
  • 2858 posts
  • Producer
  • Oxford, Mississippi

Posted 18 May 2008 - 09:47 AM

I'm aware of some here that think 2-perf is an insufficient format. Sure, it's less real estate than full academy frame. But, even on SD TV with 4:3 framing (cropped out sides), it looked pretty darn good. As a kid, I grew up on local affiliate TV showing these movies from a badly telecined 16mm print. These latest high res'd digital presentations are really stunning, even on my TV.

Another thing I noticed is how luminous and spectral the images looked. That old direct lighting with arcs and tungstens really sparkles in digital scanning. It also occurred to me the merits of Leone's notorious directing style- jumping from long shots to close-ups. It may have been influenced by the slow film stocks and the limits of the existing lighting. If you keep the shots long then you don't need fill light. If you keep the shots close then the cans you have can adequately do the job of fill under that blazingly bright sunlight. It's the medium shots that take too much light to try to fill. Those are the shots that eat up the time and budget. I can increasingly see the benefits of bouncing back and forth from long to close-up shots.
  • 0

#2 Dan Goulder

Dan Goulder
  • Sustaining Members
  • 1259 posts
  • Cinematographer

Posted 18 May 2008 - 10:21 AM

I'm aware of some here that think 2-perf is an insufficient format.

I don't know if they're aware of just how close 2-perf is to 2:35/1 Super 35, both in terms of frame size and projected results. I work with both formats, and they are close enough in look, especially with modern film stocks, to mix on the same project.
  • 0

#3 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 20074 posts
  • Cinematographer
  • Los Angeles

Posted 18 May 2008 - 11:34 AM

I don't think Leone was avoiding medium shots to save money on lighting. On 50 ASA stock, the wide shots inside needed a lot of light, and his deep focus lighting and staging often meant that even in a close-up there was a lot background also in the shot. If Leone really wanted to save money on lighting he wouldn't have asked for a deep focus look from his DP.

And there are plenty of medium shots in his movies, just that people notice the tight close-ups.
  • 0


New Pro Video - New and Used Equipment

Rig Wheels Passport

Willys Widgets

Paralinx LLC

Aerial Filmworks

Technodolly

CineLab

Abel Cine

The Slider

Ritter Battery

Media Blackout - Custom Cables and AKS

Gamma Ray Digital Inc

Metropolis Post

rebotnix Technologies

Tai Audio

CineTape

FJS International, LLC

Wooden Camera

Glidecam

Broadcast Solutions Inc

Visual Products

Wooden Camera

Aerial Filmworks

Broadcast Solutions Inc

CineTape

Abel Cine

Tai Audio

Gamma Ray Digital Inc

Technodolly

Visual Products

Metropolis Post

Ritter Battery

rebotnix Technologies

CineLab

Glidecam

New Pro Video - New and Used Equipment

Rig Wheels Passport

Paralinx LLC

Media Blackout - Custom Cables and AKS

The Slider

Willys Widgets

FJS International, LLC