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» Film-Tech Forum ARCHIVE   » Operations   » Film Handlers' Forum   » Horizontal green stripes flashing at top and bottom of screen. What are they??? (Page 3)

 
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Author Topic: Horizontal green stripes flashing at top and bottom of screen. What are they???
Steve Kraus
Film God

Posts: 4094
From: Chicago, IL, USA
Registered: May 2000


 - posted 12-31-2003 11:34 AM      Profile for Steve Kraus     Send New Private Message       Edit/Delete Post 
I believe Peter Pan is a Super 35 film (despite the Filmed in Panavision credit which would normally denote an anamorphic film but is wrong more often than correct--Super 35, 1.85, or any non anamorphic film ought to simply have an equipment credit, not a process name). There is a credit for a digital intermediate. There are indeed plenty of negative splices but not on every scene change like on a true scope film. Apparently they did do a lot of assembly of individual shots after the digital blowup. Somewhat unusual. I suppose there is always a chance it really was anamorphic but it looked too grainy for that. True anamorphic via digital intermediate doesn't look as sharp as a normal straight print but would be sharper than this was.

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Paul Linfesty
Phenomenal Film Handler

Posts: 1383
From: Bakersfield, CA, USA
Registered: Nov 1999


 - posted 12-31-2003 12:49 PM      Profile for Paul Linfesty   Email Paul Linfesty   Send New Private Message       Edit/Delete Post 
quote:
Paul, I think Frank was not referring to pan-and-scan, but to the scanning (meaning digitizing)
Christian, I was actually quoting Gordon, not Frank. And I KNOW he wasn't referring to pan and scan. That was a reference I added to the discussion in terms of transfer to home video full screen versions. I do believe, in the context of the full discussion, however, he was referring to the process of taking part of the full apeture frame for cropping to scope and then squeezing it for theatrical release. I could be wrong, but I dont think he was referring to digitizing the image.

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Christian Appelt
Jedi Master Film Handler

Posts: 505
From: Frankfurt, Germany
Registered: Dec 2001


 - posted 12-31-2003 01:01 PM      Profile for Christian Appelt   Email Christian Appelt   Send New Private Message       Edit/Delete Post 
Ooops, I jumped between pages and looked at Franks post above yours and got the names mixed up... [Embarrassed]

Now after reading Gordon's explanation again, I still think he means the process of scanning a 2.39 area out of the S-35 full frame and doing the squeeze digital instead of going trhough optical printing. Maybe Gordon could answer this?

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Gordon McLeod
Film God

Posts: 9532
From: Toronto Ontario Canada
Registered: Jun 99


 - posted 12-31-2003 01:15 PM      Profile for Gordon McLeod   Email Gordon McLeod   Send New Private Message       Edit/Delete Post 
In some cases a squeeze is introduced in the digital domain in others it is done opticaly
Alot depends on the proprietary system being used and that is often kept very secret

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Michael Coate
Phenomenal Film Handler

Posts: 1904
From: Los Angeles, California
Registered: Feb 2001


 - posted 12-31-2003 04:36 PM      Profile for Michael Coate   Email Michael Coate   Send New Private Message       Edit/Delete Post 
quote:
I believe Peter Pan is a Super 35 film
It sure looked anamorphic to me.

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Paul Linfesty
Phenomenal Film Handler

Posts: 1383
From: Bakersfield, CA, USA
Registered: Nov 1999


 - posted 12-31-2003 05:23 PM      Profile for Paul Linfesty   Email Paul Linfesty   Send New Private Message       Edit/Delete Post 
American Cinematographer covers PETER PAN in their January, 2004 magazine. Anyone have a copy to check if anamorphic or SUPER 35, or possibly both? (I think there have been "hybrids" before).

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Dominic Case
Expert Film Handler

Posts: 131
From: Sydney NSW Australia
Registered: Aug 2003


 - posted 01-05-2004 06:40 PM      Profile for Dominic Case   Author's Homepage     Send New Private Message       Edit/Delete Post 
Peter Pan was shot by Don McAlpine in Panavision 2.40:1 using a Panaflex Millenium camera and Primo lenses. The film was shot in Queensland (Australia) and processed at Atlab. Digital effects were done by ILM and others, and then there was a digital intermediate grade at Efilm. If the film was assembled (neg-matched) prior to the digital grade, then there would be negative splices at normal cuts, but not in the middle of digital effects sequences.

Don explains his preference to shoot an anamorphic negative in American Cinematographer (Jan 04) or in Kodak's InCamera magazine online at

http://www.kodak.com/US/en/motion/newsletters/inCamera/jan2004/peterpanP.shtml#p

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Steve Kraus
Film God

Posts: 4094
From: Chicago, IL, USA
Registered: May 2000


 - posted 01-05-2004 11:31 PM      Profile for Steve Kraus     Send New Private Message       Edit/Delete Post 
Ah...interesting. Digital intermediate and 500 speed film.

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