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Comparison between 2perf and 3perf


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#1 Cello

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Posted 13 August 2008 - 05:07 PM

Hi:

I will soon be directing a low-budget independent feature. Could someone please explain the drawbacks of going with 2 perf instead of 3 perf?
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#2 Stephen Williams

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Posted 13 August 2008 - 05:12 PM

Hi:

I will soon be directing a low-budget independent feature. Could someone please explain the drawbacks of going with 2 perf instead of 3 perf?


Hi,

Please use your full real name, it's a requirement here.

Stephen
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#3 Paul Bruening

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Posted 13 August 2008 - 09:21 PM

Here's an informative link to start.

http://en.wikipedia....iki/Techniscope

Plus, searches here will spit up some threads, a couple are recent. Try, techniscope, 2-perf, 3-perf and Super35 (S35) in the search. The jump from 2-perf to 3-perf is not as pronounced as the jump from 2-perf to anamorphic 4-perf. Most folks here feel that if the budget allows, 3-perf is a better way to go. You've got to be pretty short on cash to see some use from 2-perf. 2-perf is a pretty good way if you're broke but still have a hunger for 35mm.
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#4 Bruce Taylor

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Posted 14 August 2008 - 05:28 PM

You've got to be pretty short on cash to see some use from 2-perf. 2-perf is a pretty good way if you're broke but still have a hunger for 35mm.


Paul!

How can you say that! Did Sergio Leone direct those westerns in 2 perf because he was broke?

As Paul said, a few searches on this site or google will yield the information you need.

I collected a few useful links and a short Q&A concerning 2 perf here: http://www.indi35.co...erf_techniscope

One significant advantage of 2 perf is that a 1000ft of film runs for 22 minutes, useful if long takes are a part of the project. The 50% film savings also make short ends much more viable if you're going that route.

Bruce Taylor
www.Indi35.com
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#5 Leo Anthony Vale

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Posted 16 August 2008 - 02:15 PM

Paul!

How can you say that! Did Sergio Leone direct those westerns in 2 perf because he was broke?


& he had B/W work prints, possibly contact printed.

See "Sergio Leone : something to do with death "/ Christopher Frayling.
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#6 Dan Goulder

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Posted 17 August 2008 - 02:00 PM

& he had B/W work prints, possibly contact printed.

See "Sergio Leone : something to do with death "/ Christopher Frayling.

Do you know how these work prints were cut? Did they use 2-perf flatbeds, 2-perf upright Moviolas, or what? (I do know of 2-perf projectors, which are extremely rare and expensive, if you can even find one.)
Thanks.

p.s. Regarding the theory that 2-perf can lend itself to longer takes, I can attest from my own experience that there's definitely less inhibition in keeping the camera running when you're rolling 2-perf than when rolling 4-perf!
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#7 Leo Anthony Vale

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Posted 19 August 2008 - 03:28 PM

Do you know how these work prints were cut? Did they use 2-perf flatbeds, 2-perf upright Moviolas, or what? (I do know of 2-perf projectors, which are extremely rare and expensive, if you can even find one.)
Thanks.

p.s. Regarding the theory that 2-perf can lend itself to longer takes, I can attest from my own experience that there's definitely less inhibition in keeping the camera running when you're rolling 2-perf than when rolling 4-perf!


Frayling's book implies, rather than states, that the work prints were two perf.
He said that Leone's producers laughed at Leone's ineptitude for using this unprojectable format.
I don't own the book so I can't look up the section.

Frayling doesn't go into much technical details, other than mentioning Techniscope is 2 perf.
He does say that Leone's DP figured that Techniscope needed very tight close ups to compensate for its reduced definition.

There was a "swedish" issue of AC in the 70s which mentioned a Swedish process called Interscope, which was techniscope with contact prints so one didn't have to send the film to london for processing and work prints & one could have actual 'dailies' . They must have had at least one 2-perf flatbed.
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#8 John Sprung

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Posted 19 August 2008 - 03:46 PM

Did they use 2-perf flatbeds, 2-perf upright Moviolas, or what?

Upright cutter moviolas. They were geared to sync the 2 perf picture with 4 perf mag.



-- J.S.
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#9 Mike Nichols

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Posted 19 August 2008 - 09:51 PM

It basically comes down to savings! When I was green and didn't really know much (still don't!) the idea was brought to me to shoot my feature on 2 perf 35mm and get the kick ass 2:35 frame without the cost and issues with shooting anamorphic. I jumped at the opportunity and found my Kinor. She served me well. I think though, in hindsight, 3 Perf might be a good (better?) option for one simple reason. You have SOME latitude in case the boom enters the frame :)

2.35:1 extraction from 3perf is easier than 1.85:1 extraction from 2 perf also.
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#10 John Holland

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Posted 21 August 2008 - 11:32 AM

B+W work prints / rushes/ dailies , that takes me back plus selected scenes printed Colour projected would save us from watching crap DVD's.
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#11 Stephen Murphy

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Posted 21 August 2008 - 05:09 PM

B+W work prints / rushes/ dailies , that takes me back plus selected scenes printed Colour projected would save us from watching crap DVD's.


Gets my vote!
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