Jump to content


Photo

16:9 , super 35mm ??


  • Please log in to reply
2 replies to this topic

#1 Matias Nicolas

Matias Nicolas
  • Basic Members
  • PipPipPip
  • 157 posts
  • Cinematographer
  • Buenos Aires, Argentina

Posted 11 August 2008 - 11:19 PM

I read that the chip of the REd cam , is 24.4 x 13,7 super 35 mm ... but if I divide those measures , gives me 1:78 proportion ... can sbdy explain me this? why 1:78 is the equivalent of super 35 mm ?
  • 0

#2 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 19764 posts
  • Cinematographer
  • Los Angeles

Posted 12 August 2008 - 12:52 AM

I read that the chip of the REd cam , is 24.4 x 13,7 super 35 mm ... but if I divide those measures , gives me 1:78 proportion ... can sbdy explain me this? why 1:78 is the equivalent of super 35 mm ?


Super-35 doesn't have any specific aspect ratio -- it just means you are exposing an image across the Full Aperture width in 35mm. Generally Super-35 extractions are 24mm wide, and generally are composed for widescreen projects, including 16x9 (1.78).

You could consider 3-perf 35mm to be "Super-35" since it uses Full Aperture instead of Academy Aperture width, though most don't bother to call 3-perf "Super".

If you want to be precise, then you'd say that 4-perf 35mm Full Aperture is 24.84mm x 18.67mm. But the term "Super-35" is a lot more imprecise when it comes to aspect ratio since it is, by nature, meant to be used for creating multiple aspect ratios.

One thing to note though is that current 4K recording on the RED is 4096 pixels across, which lies inside the 4520 pixel width of the sensor, so currently the actual image area is around 22mm wide instead of 24mm wide.
  • 0

#3 John Sprung

John Sprung
  • Sustaining Members
  • 4635 posts
  • Other

Posted 12 August 2008 - 12:42 PM

Three perf is almost always shot super centered and full width today, but in the beginning we actually used three perf with the Academy center and side lines, 0.825" instead of 0.945" wide. This was because of burn-in on the old Rank telecines, and soon disappeared when they developed burn compensation. Because there's no way to contact print three perf to anything projectable, there's no more reason to want to make it Academy.




-- J.S.
  • 0


Gamma Ray Digital Inc

Wooden Camera

Tai Audio

Aerial Filmworks

CineTape

CineLab

FJS International, LLC

rebotnix Technologies

Paralinx LLC

The Slider

Broadcast Solutions Inc

Metropolis Post

Willys Widgets

Technodolly

Glidecam

Visual Products

Ritter Battery

Rig Wheels Passport

Abel Cine

Media Blackout - Custom Cables and AKS

Opal

Tai Audio

Glidecam

Wooden Camera

Media Blackout - Custom Cables and AKS

CineLab

Opal

Technodolly

Abel Cine

Metropolis Post

rebotnix Technologies

Rig Wheels Passport

Paralinx LLC

Gamma Ray Digital Inc

The Slider

FJS International, LLC

Aerial Filmworks

Broadcast Solutions Inc

CineTape

Visual Products

Ritter Battery

Willys Widgets