I guess this is something for the more advanced people here (NOTA!!!)

I am currently researching the difference between 35mm and super 35, especially how to handle the post-production. Any of you have experience in going back to film with super35 vs 35mm? How much more is the cost? what exacty is involved doing it? As far as I know, its a very similiar process as with super16 blowing up to 35) but I guess its more a "blow down" in my case...

thanks for any help

Kris

i'm pretty sure this is all correct:

Super 35mm stock is the same as 35mm stock.

all that happens is that the frame is actually shot smaller in height but remains the same in width, giving it a more rectangular shape.

so you're actually using less of the frame than 35mm, but end up with more width than an average 35mm frame.

the adjustment is made in the projector. when the super35mm film is projected, a different plate is used to mask off the unused area, and a wider screen is used in the movie theatre. this gives it that "cinemascope" type feel, without actually having to use any special lenses or converters.

super35mm wasn't available before because the smaller image on the negative meant that the blow up during projection would cause unwanted grain, but since the invention of newer, tighter emulsions, there is almost no noticeable increase of grain.

ah, the books correct me.

For major distribution to theatres, the Super35mm print has to be optically compressed for a standard 35mm print and then the projector has to use anamorphic lenses.

So the Super35mm lens has to be put in an optical printer, and then an anamorphic lens is used to squeeze the Super35 image onto a regular 35mm frame.

This is done frame by frame. so cost really depends on how much footage has to be transferred, resized, how many inter-positives/negatives have to be made depending on many prints you need for distribution, etc. and all this depends how much any particular lab charges for that procedure. some labs may be cheaper but take longer, some may be quick but expensive. some labs may cut you a deal. but this goes with any amount of optical work done for a final print, so really, you just have to check around yourself.


and man i could have sworn i talked to someone here that worked at a theatre saying their projector could run straight Super35mm prints, they just made adjustments. maybe it was just that theatre in particular, since they do adjust for 35mm and 70mm prints, but have only one theatre to show it in (it's a historical theatre with just one main hall)

well. hope that helped.

thx a lot, I'll give technicolor a call. Got a feeling it will be quite expensive)

Super35 really just means that the gate is opened up to record on the soundtrack area (A la Super16 as you said) and the lens is re-centered to compensate (Also, a la Super16). There is no inherant aspect ratio to it.

Hoeks, I know your question is specifically in regards to 2.39:1 in which case there are a ton of different factors to consider when making the choice between Super35 and Anamorphic. Obviously, prices differ from lab to lab, but a blow-up from Super35 to Anamorphic is generally pretty pricey (IE, more than the rental costs of the Anamorphic lenses). This can be done either optically, or through a DI.

Of course, it's never really that simple. Anamorphic lenses are big and heavy, so you have to factor in how that will effect your budget.

Here are some questions you'll need to ask yourself.

Will you have small sets or tight practical locations? What type of stop are you looking to achieve and will shooting anamorphic require bringing in "bigger guns"? What type of optical gymnastics do you need to perform, and will one format help you more than another in that regard?

Hope that helps.

Nota "Will that be a lengthening, or a widening" Mono

mh the 2:35 format would definitely help the epic style of the story as we shoot 95% outdoors with wide landscapes and impressive views (also the story calls for a wide ratio). Yet, I guess I will stay with 1:85 for budget reasons...anamorphic is out of question as we shoot a lot in the night and we just cant afford to bring in big guns (and especially the 1000amp genie we would need to power them

but thanx a lot