IPs are not "converted". The pre-DI optical conversion of a Super-35 shot film to anamorphic happened from the IP to IN stage, not Negative to IP. The IP would be a contact print directly from the Negative. VincentLord Dalek said:
No, the film does not just look this way. I saw it projected from both 35mm and 70mm prints on it's original theatrical release over 20 times, since I worked at the theater where it premiered. Again, that is not film grain, it's digital noise. I was raised in film and know what film grain looks like. And regarding the Super 35 to Scope process mentioned above, the IPs are an optical crop of the original Super 35mm negative. Howards End was shot Common Top, which means when it is time to make the IPs, the 2.35:1 image is slide up to the top portion of the Super 35mm frame because that is where all the action was choreographed. In broadcasting the film on television, the image is opened up to the 4x3 aspect ratio it was also framed for during production and therefore on standard def televisions it had a comfortable 4x3 image with every character in a medium shot. The Remains of the Day was shot Common Center, which means that the 4x3 image (if it's ever shown that way anymore on television) has the characters with their heads almost in the center of the frame, an odd amount of head room. But no Howards End looked spectacular projected in both 70mm blowup and 35mm scope. The 70mm had more subdued color whereas the 35mm scope prints had more punch to the color. Grain was very fine and certainly not the digital gnat storm I and many others are getting on this BD. At this writing, I've still not had another disc behave and look this bad, which you would think would occur again if the problem was my set up.Lord Dalek said:
