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Author Topic: Horizontal green stripes flashing at top and bottom of screen. What are they??? Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 12-28-2003 01:18 PM                        Look at any bright light such as a headlight that has a halo around it; if the halo is a oval, then the orginating photography was true anamorphic. If the halos around bright lights are perfect circles, then it was filmed in Super 35mm. If the grain is as big as golf balls, that too points to Super 35mm. As mentioned, if it is a film shot in anamorphic, it will be much more susceptible to splice flashes at every shot change if the aperture plate is cut to the old 2.35:1 standard. However, a properly cut 2.39:1 plate should cover those splice flashes if the image is properly framed in the projector.  |  IP: Logged Paul Linfesty Phenomenal Film Handler Posts: 1383 From: Bakersfield, CA, USA Registered: Nov 1999 posted 12-28-2003 07:19 PM                     quote: Often the material is scanned and anamoprhisised as distinct shots and then the printing negatives are assembled from that I'm a little puzzled as to why they would do that. One of the reasons for shooting in SUPER 35 (not the only reason, to be sure) is to create a version that doesn't have to be panned and scanned. Editing in SUPER 35 format means only having to do the cutting once. If you edited only with anaomorphically converted footage, you would be stuck doing pan and scan from a lesser quality image, OR go back and re-edit the whole thing over again using the whole frame (which makes no sense, either economically or technically).  |  IP: Logged Darryl Spicer Film God Posts: 3250 From: Lexington, KY, USA Registered: Dec 2000 posted 12-28-2003 10:02 PM                    From what I have read about the subject of super 35 is that optical squeeze printing of the images is only done after the Negative has been finalized and aproved to make the release prints. That is one reason that you see everything on the heads and tails squeezed up. Society of camera operators magazine Taken from the above link. Very interesting how Super35 came about out of developing a process for Greystoke: The Legend of Tarzan of the Apes. Super 35 release prints are made on modern, fine-grain film stocks by an updated version of the basic method used in SuperScope. First, a timed contact interpositive is made from the cut original negative. Second, a squeezed internegative is extracted.  |  IP: Logged Tom Wienholt Master Film Handler Posts: 371 From: Towson, MD, USA Registered: Dec 2002 posted 12-28-2003 11:04 PM                     I thought that this issue was taken care of by making the scope standard 2.39:1 instead of 2.35:1.  |  IP: Logged Paul Linfesty Phenomenal Film Handler Posts: 1383 From: Bakersfield, CA, USA Registered: Nov 1999 posted 12-29-2003 12:45 AM                     quote: thought that this issue was taken care of by making the scope standard 2.39:1 instead of 2.35:1. Yes, IF the theatre has followed SMPTE recommendations and IF the "projectionist" has bothered framing correctly.  |  IP: Logged Floyd Justin Newton Jedi Master Film Handler Posts: 559 From: Phoenix, Arizona, USA Registered: Jun 2002 posted 12-29-2003 12:13 PM                     Paul- If you go into a theatre today and utter the word SMPTE you would get a questionly look from the entire staff. Since they don't hire 'projectionists" anymore, but rather kids off the streets! At least that's the way it is in Sunny Arizona. fjn HAPPY NEW YEAR EVERYONE!  |  IP: Logged Paul Linfesty Phenomenal Film Handler Posts: 1383 From: Bakersfield, CA, USA Registered: Nov 1999 posted 12-29-2003 12:20 PM                     Floyd It's the same thing here (that's why I put the "projectionist" in quotes. ). As a matter of fact, I know of few theatres that actually follow this 2.39 stuff anyway. Yesterday I got a refund on LAST SAMURAI because the negative splices were showing, as well as part of the next frame in the left corner of the curved screen. And this theatre WILDLY overcrops on all four sides. Even though the shape of the screen is just about right (on one scop film, there were two lines of titles at the bottom to indicate a location...the first line was only half there and the bottom line completely missing). Which means it was WAY off. Strange. I seemed to be the only member of the packed house who even NOTICED it!  |  IP: Logged Floyd Justin Newton Jedi Master Film Handler Posts: 559 From: Phoenix, Arizona, USA Registered: Jun 2002 posted 12-29-2003 12:53 PM                     Paul-- That's usually the case. And THAT"S why I don't go to theatres to see films anymore. I'll wait and see them on cable. It's just not worth the aggravation (sic) and expense to go to a theatre and be subjected to the shit that goes on today. (End rant) fjn  |  IP: Logged Darryl Spicer Film God Posts: 3250 From: Lexington, KY, USA Registered: Dec 2000 posted 12-29-2003 07:40 PM                    Talk about cropping. you wait for cable?  |  IP: Logged Nick Engstrom Film Handler Posts: 23 From: USA Registered: Dec 2003 posted 12-29-2003 08:57 PM                    We are having some of the same problems with Peter Pan, as well as Paycheck. Just like was said earlier, it runs on the bottom of the frame, from left to right, getting smaller as it goes across, the only difference is that Paycheck issue was white instead of green.  |  IP: Logged Kevin Wale Expert Film Handler Posts: 167 From: Guymon, OK USA Registered: Aug 2003 posted 12-30-2003 09:34 AM                     I've got to say that our plates could indeed be filed wrong. I just got here a couple of months ago and haven't seen the tech yet. Even at that though, when these flashes happen, they do disrupt hte whole image. There is the visible lines, but there is also a visible flash over the whole thing. Reel one is the worst but there are places in reel six that do it. Haven't noticed it in the other reels, but I don't really get to spend the time I need to in the booth while the movie is running.  |  IP: Logged Christopher Seo Jedi Master Film Handler Posts: 530 From: Los Angeles, CA Registered: Jun 99 posted 12-30-2003 11:41 AM                     Without having seen the movie(s) in question, I wonder if this could be similar to an issue I noticed previously: Topic: Colored/dark flashes at edit points in prints As John P. explained, the light valves on lab printers can cause flashes as the color timing is changed from shot to shot.  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 12-30-2003 02:09 PM                        If you are seeing the negative splices no matter how your frame the image, you should definitely check your projected image area using the SMPTE 35-PA (RP40) test film. You should not show more than 0.690 inches of image height for "scope".  |  IP: Logged Will Kutler Phenomenal Film Handler Posts: 1506 From: Tucson, AZ, USA Registered: Feb 2001 posted 12-31-2003 04:12 AM                     One thing that no one has mentioned.... If you have horizontal green scratches that start at the bottom and progressively work towards the top, and then repeating this pattern, you might have some debris, like a tooth brush bristle (ussed for cleaning) stuck on the intermittent sprocket. Maybe something happened to the master print, or maybe when the release prints were being processed?  |  IP: Logged Christian Appelt Jedi Master Film Handler Posts: 505 From: Frankfurt, Germany Registered: Dec 2001 posted 12-31-2003 09:25 AM                     quote: I'm a little puzzled as to why they would do that. One of the reasons for shooting in SUPER 35 (not the only reason, to be sure) is to create a version that doesn't have to be panned and scanned. Paul, I think Frank was not referring to pan-and-scan, but to the scanning (meaning digitizing) of the camera negative, then the squeeze is added digitally and the anamorphic picture is recorded onto 35mm film again. The original Super-35 used anamorphic printing lenses to add the squeeze, but with the improvements in digital intermediates, some people feel they get better image quality using digital. I have no personal experience with Super-35, but from the labs and cinemagraphers I heard that there are great differences in quality of the optical conversion done by different labs. On the other hand, most digital intermed processes seem to be done at 2K resolution, which is only a quarter of the resolution of the camera negative (scanning&recording at 4K= 4096 lines) would be more adequate.  |  IP: Logged

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