Mark Anthony
Second Unit
- Joined
- Feb 25, 2001
- Messages
- 457
In reply to Gordon...
If you check the widescreen museum, which as far as the HTF goes is a reference site that is quoted fairly often, their reference page for Ultra Panavision 70 states that the negative ratio is 2.76:1, as is the 70mm roadshow prints.
UP70 was composed and photographed in 2.76:1 and albeit in selected engagements was available for viewing like that too theatrically.
Regardless of what ratio re-release prints and 35mm reduction prints were in - the negative is in 2.76:1 and should be shown as such.
So few films were made in this format, that they must have carefully selected it for it's ultra-wide, ultra-clarity possibilities - therefore cropping it to 2.5 or less, is the same as cropping a scope movie down to 2.10 or less, which always brings uproar in this forum - so I don't see why UP70 should be any different and therefore it's OAR should be protected.
I'm well-aware of the fact that UP70 was mainly used to produce fantastic quality 35mm reduction prints (in a similar way that the Vistavision process was used to produce a fantastic negative that could be duplicated with a reduction in grain etc) and that some of the cinematographers composed for a 2.5:1 ratio due to the size of the screens generally available, but given that in the majority of cases the cinematographer's and director's of these epic's are long gone and not available to supervise the transfer I would be wary of anybody second-guessing their work as to what should or should not be cropped - and some of them would have utilised the full-frame in composition, even if it didn't "need" to be seen.
As for Khartoum - any 70mm film (especially a UP70 sourced one) presented with .4:1 of it's image missing and it's original multichannel soundtrack avalable only in 2.0 surround as opposed to discrete is a missed opportunity and not one I would bother watching.
M
If you check the widescreen museum, which as far as the HTF goes is a reference site that is quoted fairly often, their reference page for Ultra Panavision 70 states that the negative ratio is 2.76:1, as is the 70mm roadshow prints.
UP70 was composed and photographed in 2.76:1 and albeit in selected engagements was available for viewing like that too theatrically.
Regardless of what ratio re-release prints and 35mm reduction prints were in - the negative is in 2.76:1 and should be shown as such.
So few films were made in this format, that they must have carefully selected it for it's ultra-wide, ultra-clarity possibilities - therefore cropping it to 2.5 or less, is the same as cropping a scope movie down to 2.10 or less, which always brings uproar in this forum - so I don't see why UP70 should be any different and therefore it's OAR should be protected.
I'm well-aware of the fact that UP70 was mainly used to produce fantastic quality 35mm reduction prints (in a similar way that the Vistavision process was used to produce a fantastic negative that could be duplicated with a reduction in grain etc) and that some of the cinematographers composed for a 2.5:1 ratio due to the size of the screens generally available, but given that in the majority of cases the cinematographer's and director's of these epic's are long gone and not available to supervise the transfer I would be wary of anybody second-guessing their work as to what should or should not be cropped - and some of them would have utilised the full-frame in composition, even if it didn't "need" to be seen.
As for Khartoum - any 70mm film (especially a UP70 sourced one) presented with .4:1 of it's image missing and it's original multichannel soundtrack avalable only in 2.0 surround as opposed to discrete is a missed opportunity and not one I would bother watching.
M
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