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This topic comprises 8 pages: 1 2 3 4 5 6 7 8
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Author
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Topic: "Minority Report" in 2.39? What gives?
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Michael Coate
Phenomenal Film Handler
Posts: 1904
From: Los Angeles, California
Registered: Feb 2001
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posted 06-30-2002 08:52 PM
Michael Coate answered: quote:
The answer to your question is 1.33:1 (.980 x .735" = 1.33:1).
Mike Schindler then asked: quote:
OK. That makes sense. But it brings up two more questions. What is the aspect ratio of a full 35mm film frame with a soundtrack? And where does the whole 1.37:1 thing come in?
I don't have any actual numbers for 35mm with optical soundtrack. I don't think there is a projection spec on this because nothing is meant to be shown that way, though the figure would be fractionally larger than the anamorphic projection aperture, which is .825 x .690" (1.20:1). Actually, some films were shown in the range of 1.15:1 - 1.20:1 in the late 1920s and early 1930s in between the introduction of sound and the establishment of the Academy format. The 1.37:1 Academy ratio falls *within* the anamorphic spec. Same width and slightly less height (.825 x 600"). I think many people mistakenly think the frame *with* the optical soundtrack is 1.33:1/1.37:1, which may be what led you to believe the full aperture was in a wider ratio (1.67:1 was the figure I think you noted).
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Steve Guttag
We forgot the crackers Gromit!!!
Posts: 12814
From: Annapolis, MD
Registered: Dec 1999
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posted 06-30-2002 08:57 PM
Michael,Where did you get your full frame spec? Steve ------------------
"Old projectionists never die, they just changeover!"
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Michael Coate
Phenomenal Film Handler
Posts: 1904
From: Los Angeles, California
Registered: Feb 2001
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posted 06-30-2002 09:46 PM
Steve Guttag asked: quote:
Michael,Where did you get your full frame spec?
The "Film and Camera Formats" section of the Panavision catalog. Other specs have been referenced from the BKSTS series of wall charts. Steve, why do you ask? Do you have a different figure?
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Michael Barry
Jedi Master Film Handler
Posts: 584
From: Sydney, NSW, Australia
Registered: Nov 1999
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posted 07-01-2002 02:19 AM
I agree that getting good results with super-35 starts with a good negative. Russell Carpenter spoke about that specifically with regards to 'Titanic'.However, I'm still interested in what else can go right/wrong. In an example I cited earlier, I saw two prints of 'The Beach' (ergo, same camera negative) and one of them was of the 'I can't believe it's not 70MM' variety (well, not quite, but you know what I mean), whereas the other one was 'Is this 16MM or just grainy, soft 35MM?', and that's not an exaggeration. So what could have contributed to this?
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John Pytlak
Film God
Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 07-01-2002 01:59 PM
Standard SMPTE 59 specifies the 35mm Camera Aperture Images and Usage. Style A is 0.864 x 0.63 inches (21.95 x 16.00 mm) (Non-Anamorphic) Style B is 0.864 x 0.732 inches (21.95 x 18.59 mm) (Anamorphic) Style C is 0.981 x 0.735 inches (24.92 x 18.67 mm) ("Special Processes", including Super-35) Standard SMPTE 195 specifies the current projectable image areas for 35mm prints. The 1.37:1 aspect ratio (0.825 x 0.602 inches) traces its origin to the "Academy" aspect ratio of 0.825 x 0.600 inches (e.g., old ASA Standard Z 52.37).
------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Research Labs, Building 69, Room 7525A
Rochester, New York, 14650-1922 USA
Tel: +1 585 477 5325 Cell: +1 585 781 4036 Fax: +1 585 722 7243
e-mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion
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Michael Coate
Phenomenal Film Handler
Posts: 1904
From: Los Angeles, California
Registered: Feb 2001
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posted 07-02-2002 02:28 PM
Nic Margherio said: quote:
I found it quite curious that [Spielberg] would all of the sudden choose to shoot [MINORITY REPORT] in 2.39 and I was just wondering if anyone had any information on this.
There is a feature article on the photography of MINORITY REPORT in the July issue of American Cinematographer. While the article does not go into specific detail on *why* the 2.39:1 ratio was selected, there were a couple passages that may be of interest and are related to the selection of film format. "MINORITY REPORT also marked Spielberg's first foray into Super 35 filmmaking. [DP Janusz] Kaminski chose Panavision Super 35 cameras and Primo lenses, because he knew the Primos' sharpness would help maintain the quality of the image during the optical blowup to an anamorphic print. 'I always use filters and Dior nets, which automatically remove a certain sharpness,' he notes. ' When I saw the blowup test for MINORITY REPORT, the movie benefitted from [Super 35] because the highlights got slightly brighter, the shadows got slightly harder and the colors got slightly more pastel-ish." Another factor in the selection of Super 35 (over anamorphic) may have been related to the selection of wide angle lenses for the majority of the production. Of course, they could've used the *same* wide angle lenses in the 1.85:1 spherical format, but I'm guessing that the 2.39:1 wide screen ratio was selected first, then the origination process was selected to accommodate achieving that ratio. "Steven likes the actors to be as close to the camera as possible, so we're most often shooting with a 17mm, 21mm or 27mm," [Kaminski] says. "He's very much an old-fashioned filmmaker in terms of how he tells his stories; that seems like a very tricky statement because his movies are so technologically advanced, but when you see a special effect in Steven's movies, you can experience it in a wide shot, He likes to see action play in one continuous shot rather than being interrupted by an editor's cut, and that's very old-fashioned. We staged a lot of scenes in wide shots that have a lot of things happening within the frame. Of course, there is plenty of quick cutting in the film because there are extensive action sequences, but many scenes are about people and emotions, and we often let the emotions play in a single wide shot."
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