Anamorphic on Super 35 - Is it possible?

Discussion in 'Archived Threads 2001-2004' started by Esten, Sep 15, 2002.

  1. Esten

    Esten Supporting Actor

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    Is it possible to shoot with Anamorphic lenses on 4-perf,or 3-perf,Super 35? I don't see why it couldn't be done,just adjust the camera the same way you do with regular Super 35 spherical,and it should work.
    Can anyone offer some insight into this?
    Thanks.[​IMG]
     
  2. Damin J Toell

    Damin J Toell Producer

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  3. Esten

    Esten Supporting Actor

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    Is there any reason it isn't used?
     
  4. Damin J Toell

    Damin J Toell Producer

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  5. Adam Lenhardt

    Adam Lenhardt Executive Producer

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    Why would you want to? You'd still have the fixed ratio and distortion problems of anamorphic, and (as Damin J Toell mentioned) the issues of createing a new process. For the little bit extra negative that would be exposed, there isn't really any point...
     
  6. Patrick McCart

    Patrick McCart Lead Actor

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    Actually, it has been done before at 4 perf.

    Cinestage was used for some prints of Around the World in Eighty Days. The frame used the full apature while the soundtrack was carried on a separate 35mm fullcoat mag.

    Many were processed by Technicolor, so they looked great AND had a larger frame space.

    With modern systems, it's more practical to stick with normal configurations...however, I wouldn't mind to see some films made in the VistaVision process, then printed in dye-transfer Technicolor (yum!).
     
  7. Jeff Kleist

    Jeff Kleist Executive Producer

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    Yes it's possible
    And it wouldn't be evil [​IMG]
    After all, the did the most godlike of formats, anamorphic 70mm for Ben-Hur [​IMG] I dream of the day I can check that out
     
  8. Esten

    Esten Supporting Actor

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    What's wrong with the anamorphic distortions?

    I like the look of them. A few directors and DP's love them.Jan De Bant and John McTiernan,off the top of my head.
     
  9. Adam Lenhardt

    Adam Lenhardt Executive Producer

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    I have no problems with the anamorphic distortion. But for the very little space you'd gain on the negative, it wouldn't be worth creating a new process for. Either shoot straight anamorphic or straight Super 35.

    As an aside, the anamorphic distortion adds an extra layer of difficulty for special effects.
     
  10. Esten

    Esten Supporting Actor

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    Do you know if they shoot the effects shots in say,the Mummy movies in anamorphic,or just use Vistavision or whatever?

    Oh,and one more thing.....

    When you shoot 2.40 on Super 35,aren't you only using 2 perfs? that seems akin to the old Technivision(?) process.
    That's a small negative area.
     
  11. Damin J Toell

    Damin J Toell Producer

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  12. Michael Reuben

    Michael Reuben Studio Mogul

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  13. Dharmesh C

    Dharmesh C Supporting Actor

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    What is 'perf'?
     
  14. Peter Apruzzese

    Peter Apruzzese Producer

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  15. Esten

    Esten Supporting Actor

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    Has the optical process for the Super 35 process improved greatly since,say,1985... or is it still basically the same?
    I hear you lose 10% color saturation from it.
     

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