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Super 35 process


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#1 Saba Mazloum

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Posted 01 December 2009 - 11:29 PM

Hey lads,

I tried searching for this.. didnt find anything.. maybe im not searching the right key words.

I have a question regarding shooting super 35..

1. would it be 3perf or 2 perf when shooting super 35?

2.what would happen to sound?

3. ( dumb question) but , shooting super 35 would mean that i would be framing on a ground glass of 2.35 right? and it would be cropping top and bottom of the film right?

thanks..
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#2 Charles MacDonald

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Posted 01 December 2009 - 11:53 PM

2.what would happen to sound?

The "super"formats tend to be for origination only. IF you use the full width of the film, you record more detail but the next step is either (Scanning) or (optical printing) to get to a standard print.

At the Shooting end - sound would be the same as ever, as it is generally recorded separately. The Super format is not used at the Theatre.
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#3 Paul Bruening

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Posted 01 December 2009 - 11:57 PM

Hey lads,

I tried searching for this.. didnt find anything.. maybe im not searching the right key words.

I have a question regarding shooting super 35..

1. would it be 3perf or 2 perf when shooting super 35?

2.what would happen to sound?

3. ( dumb question) but , shooting super 35 would mean that i would be framing on a ground glass of 2.35 right? and it would be cropping top and bottom of the film right?

thanks..


Super 35 can be pulled from 4-perf but is usually done as 3-perf. The reason it is "super" is because it uses all of the frame from perf line to perf line (4-perf academy frame does not shoot all the way across the frame because it leaves enough space along one side to allow printing a sound track later down the production line). From a 3-perf tall, full frame wide image, a wide screen image (1.85) can be easily printed. As well, a partial height scope frame can be extracted (2.39).

The ground glass should indicate what framing you eventually intend whether wide or scope.

I'm not sure what your sound question regards.

Here's a list of formats which should help as well as boggle you with the plethora of film formats:

http://en.wikipedia....of_film_formats
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#4 David Mullen ASC

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Posted 02 December 2009 - 12:00 AM

1. would it be 3perf or 2 perf when shooting super 35?

2.what would happen to sound?

3. ( dumb question) but , shooting super 35 would mean that i would be framing on a ground glass of 2.35 right? and it would be cropping top and bottom of the film right?

thanks..


"Super-35" is a term that generally means using the entire Full Aperture width of the 35mm negative frame for the image, as opposed to leaving room on the left side of the 35mm negative as the sound aperture formats like Academy, standard 1.85, and anamorphic do (the area is unused on the negative but the print uses that area on the left for a soundtrack stripe). Super-35 is roughly 24mm wide while the sound apertures are roughly 22mm wide.

Therefore 4-perf Super-35 is more or less the same as the original Silent or Edison Aperture, 1.33 : 1, when the entire negative is exposed in all possible directions, with thin framelines and the image extending to each sprocket row on the sides. So the top & bottom of the picture area is cropped in post to make the widescreen version.

Most people shoot Super-35 for releasing later in a widescreen format. Can be either 1.78 (for HDTV broadcast) or 1.85 or 2.40 (aka 2.35).

For this reason, it has become popular lately to shoot 3-perf instead of 4-perf, since the 3-perf Full Aperture is 1.78, rather than the 1.33 shape of the 4-perf Full Aperture. So you waste less film using 3-perf when the goal is a widescreen image.

Though 3-perf is almost always shot Full Aperture, some people call it Super-35 and others don't.

2-perf, however, is generally not shot Full Aperture, or if it is exposed that way, the Full Aperture is usually trimmed down to the sound aperture width, for no other reason than 2-perf Full Aperture is half the height of 4-perf Full Aperture, so if 4-perf Full Aperture is 1.33 : 1, then something half as tall would be 2.66 : 1. Which is wider than current release print formats, so 2-perf usually only uses the sound aperture (Academy) width.

Super-35 is a negative format, not a release print format. There is no room for a soundtrack in the Super-35 dimensions. All 35mm print projection is 4-perf using a sound aperture, nowadays that either means matted widescreen 1.85 or anamorphic widescreen 2.40. So anything shot in Super-35 has to be converted in post to one of those two release print formats.

If you want avoid doing a D.I. or an optical printer blow-up, shoot in standard 35mm (either framed for matting to 1.85 or using anamorphic lenses for a 2.40 image) so you can make contact prints with a soundtrack on them for 1.85 or 2.40 projection.
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#5 Paul Bruening

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Posted 02 December 2009 - 12:06 AM

David's answer is better.
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#6 Saba Mazloum

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Posted 02 December 2009 - 05:11 AM

i concur! Thanks a lot guys!
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