Moulin Rouge: Super-35?

Discussion in 'Archived Threads 2001-2004' started by Patrick McCart, Apr 26, 2002.

  1. Patrick McCart

    Patrick McCart Lead Actor

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    After seeing the abandoned edits, they looked a LOT like Super-35 matted shots.

    Was Moulin Rouge shot on Super-35 or Panavision?
     
  2. Richard Kim

    Richard Kim Producer

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    I believe that in the end credits it has the Panavision logo, indicating it was shot anamorphic 2.35:1. If it was Super35, it would have said "Panavision cameras and lenses."
    The IMDB also says that MR is anamorphic.
    http://us.imdb.com/Technical?0203009
     
  3. Damin J Toell

    Damin J Toell Producer

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  4. Jeff Kleist

    Jeff Kleist Executive Producer

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    Anamorphic and Panavision are not necessarily synonymous. Panavision supplies MANY kinds of cameras and lenses
     
  5. Damin J Toell

    Damin J Toell Producer

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  6. John J Nelson

    John J Nelson Stunt Coordinator

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    The elliptical out-of-focus highlights and horizontal lens flares would suggest that MR was shot in Panavision, or some other anamorphic lens process.

    -- J.
     
  7. Jason Whyte

    Jason Whyte Screenwriter

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  8. GerardoHP

    GerardoHP Supporting Actor

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    The "Filmed in Panavision" logo is even used on some 4:3 material like Seinfeld!

    "Filmed in Panavision" should mean the film was shot with anamorphic lenses. "Filmed with Panavision Cameras and Lenses" should mean it was shot with spherical lenses even if the release print is anamorphic, as with Super 35. But often these credits are not used this way.

    Some mostly anamorphic films like MR contain shots filmed flat (i.e., with spherical lenses) in Super 35, Vistavision and other 65mm photography which is used to preserve high resolution in special effects shots and to facilitate computer work. For instance, most of the special effects shots in CONTACT, which was an anamorphically-shot scope film, were produced in Vistavision, then cropped for the 2.40:1 frame.

    I would imagine such is the case with MR as well, but as you can easily see (and was stated here before) the lens flares and other distortions that are visible in MR come from the use of anamorphic optics.
     
  9. Jonathan Burk

    Jonathan Burk Second Unit

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    The Spectacular Spectacular number has what looks like anamorphic distorting on some shots where they change focus.
     

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