Super 35 and action movies.

Discussion in 'Movies' started by Jason Adams, May 9, 2003.

  1. Jason Adams

    Jason Adams Supporting Actor

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    There may be a Super 35 thread here somewhere, but I was watching X2 on the big screen, and noticed that hideous extra grain, that is part of the cropping of a Super 35 movie. I know that filmmakers say that spherical lenses are easier to handle, and cheap, compared to anamorphic lenses. I mean, this is ok for a cheaply budgeted movie, but X2? Even X-Men was anamophic!

    But there has been a series of movies, that have continusly shot anamophically...James Bond movies. From Thunderball to Diamonds Are Forever, and continuosly from The Spy Who Loved Me, they are all anamorphic. So if Bond can do it, why not others?
     
  2. Adam Lenhardt

    Adam Lenhardt Executive Producer

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    There are many advantages to Super 35 over anamorphic, including:
    • greater depth of field, to capture more picture in focus
    • greater selection of lenses, allowing the D.P.'s to find exactly what they need for the job
    • no distortion - no distortion to the image, particularly important for heavily simplifying F/X compositiing
    That aside, the grain shouldn't be neccessarily hideously worse than an anamorphic picture. Sure, it's enlarged, but there are many factors including lighting, film stock, and lab processing which can lead to more significant grain issues.
     
  3. Michael Reuben

    Michael Reuben Studio Mogul

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  4. Kami

    Kami Screenwriter

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    I can't fathom why people say Super35 looks bad when I watch either of the Lord of the Rings. The DVD transfer on FOTR: Extended is absolutely stunning.
     
  5. Daniel J.S.

    Daniel J.S. Stunt Coordinator

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    Minority Report was shot Super 35? I didn't know that. Is there ways to tell visually that it was shot this way? Please enlighten me as I'm pretty ignorant about it. Last I checked the credits don't mention use of Super 35.
     
  6. Patrick McCart

    Patrick McCart Lead Actor

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    Super-35 films can be identified usually by it being 2.35:1 and having a credit for "Camera and Lenses by Panavision" instead of "Filmed In Panavision."

    Some 1.85:1 films have been filmed in Super-35, though. Goodfellas is one of them.
     
  7. Daniel J.S.

    Daniel J.S. Stunt Coordinator

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    Minority Report is 2.4:1 [​IMG]
    Seriously, that makes sense. How do you tell if 1.85:1 films used Super 35?
     
  8. Adam Lenhardt

    Adam Lenhardt Executive Producer

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  9. Damin J Toell

    Damin J Toell Producer

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  10. Michael Reuben

    Michael Reuben Studio Mogul

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    I never trust the end credits. There have been way too many errors.

    Widescreen Review maintains a database of current films and films they've reviewed on DVD. You have to be a subscriber to access it. I've found them to be much more accurate and reliable than IMDb.

    I can usually tell how a 2:35:1 film (or 2.40 for you purists [​IMG] ) has been shot by various tell-tale visual cues that are hard to describe. But I agree with Adam that the differences can be very subtle. Not always, though; anamorphic lens flares, once you know what they are, are pretty easy to spot.

    M.
     
  11. Michael Reuben

    Michael Reuben Studio Mogul

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  12. Jason Adams

    Jason Adams Supporting Actor

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    Well ok...my misconseptions of Super 35 have been proven wrong. I just dont like it...it make me feel like I've been cheated somehow...you're always losing part of the picture. I still like my movies to be animorphically shot.
     
  13. Damin J Toell

    Damin J Toell Producer

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  14. Damin J Toell

    Damin J Toell Producer

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  15. Holadem

    Holadem Lead Actor

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    Where is Jeff? [​IMG]

    The corners of the screen were quite noticeably distorted in FOTR (theater), I first saw it in the Bag End scenes with all those beams. I am not sure about the DVD, I would have to go check.

    Is this a mark of Super-35?

    --
    Holadem
     
  16. Dan Rudolph

    Dan Rudolph Producer

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    That was the projector, most likely. FotR was shot spherical, so there wouldn't be any distortion. My understanding is that it would have been to hard to do the CGI and forced perspective otherwise.
     
  17. Brendan Brown

    Brendan Brown Stunt Coordinator

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    Can you tell if something's been shot anamorphically if the out of focus areas in the background are distorted? I always find that the background stretches out somewhat when a camera rack focusses to the forground in an anamorphic film.
     
  18. Tim Raffey

    Tim Raffey Stunt Coordinator

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    Holadem,
    I don't know exactly what you're talking about, but it could've just been a wide lense.
     
  19. Lew Crippen

    Lew Crippen Executive Producer

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  20. Brendan Brown

    Brendan Brown Stunt Coordinator

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    Shame, I like wide angle lenses. Maybe the visual effects houses should suck it up and ask the DP to make careful notes on the visual distortion settings to be mimicked with CGI.
     

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