Is anyone still shooting films in large negative formats (1 Viewer)

[Nicholas Vargo]

The best films I have seen in real scope in the last 15 years have been directed by Paul Thomas Anderson and photographed by Robert Elswit. The day his collaboration with DP Robert Elswit ends is the day I mourn with agony. Elswit has done his fair share of Super 35 work, but his essential works (Boogie Nights, Magnolia, Punch-Drunk Love, and There Will Be Blood) are all in scope and are sights to behold, especially on a big theater screen. Man, does Elswit know how to frame a perfect shot, as does PT Anderson writing and directing these stories for him to film.

NOTE: The only reason I didn't mention Hard Eight is because I'm not sure if the film was shot in scope or in Super 35.

 

[Brian Borst]

Hard Eight was shot in Super 35. It looks really good, though not as good as the other collaborations with Paul Thomas Anderson. I'm waiting for all these films (apart from There Will Be Blood, of course) to come out on Blu-Ray. They should look amazing.

 

[Brian Husar]

In regards to Super 35, it's getting better but I prefer Panavision. Gone are the days when we saw Filme In Panavision at the end of a film (it's still there sometimes, sometimes they have it on Super 35 films using Panavision cameras. They never adverstise Super 35 for some reason except in Hard Eight, Age Of Innocence, and Casino), why don't they bring back Techniscope. It was not that bad, and with a DI and can look better than it did than. And you are getting on the screen what the OCN had. The 4 perf Animorphic print is taken from the 2 perf frame. Bring back Techniscope instead of Super 35.

 

[Brian Borst]

The aperture is bigger on Super35 than on Techniscope, so it would be a step back, I think. Plus Super35 has been so common now, I doubt it that they would suddenly stop using it and go for another format. And if they did, I'd rather they use anamorphic or 70mm film

. That's not happening, I know.

 

[Brian Husar]

Have not posted here since April. I am seeing more animorphic films coming back. Rodrigo Prearto (I know I spelled his name wrong), shot State Of Play in Panavision. Used animorphic for most of the film and also used digital Panavision Genisis (the best of the digital cams next to Viper Stream). The new Star Trek is animorphic, Michael Bay of course with the new Transformers coming out. John Bailey gave an interview in American Cinematographer where he said he lit a fire under Panavision's a@$ because he was upset they got in bed with Lucas to Panavise the Cinealta (Sony HDCAM), and they ignored there own lenses, and now they have and are devloping better animorphic lenses.

Now can Hi Def digital have an animorphic squeeze, and be presented in true wide screen?. I know the sony cameras and the Panavision digital cameras only have super 35 capibilities. But I heard Cannon makes an Animorphic adapter for the Cinealta (don't know if that's the same as a lens), and the Viper Stream has a 2.35 cinemascope mode (don't know if that's a squeeze or just cropping to a 2.35 or 2.40 image)

 

[Lord Dalek]

First lets answer this guy's question... Yeah, Ron Fricke still does, "Samsara" (his followup to Baraka) is in Super Panavision 70. Moving on....

Apparantly the Red One camera does. Soderbergh shot "Girlfriend Experience" with it and all the out of focus shots are ovular instead of spherical.

 

[David (C)]

Spherical cinematography is beautiful to me.