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This topic comprises 3 pages: 1 2 3
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Topic: Super 35 explained
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John Pytlak
Film God
Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 12-20-2004 04:10 PM
Here's the history of the "Scope" projectable image area:
http://www.widescreenmuseum.com/widescreen/apertures.htm
quote:
From 1957 through today, there have been a number of small changes to the anamorphic projector aperture recommended standards. John P. Pytlak of Eastman Kodak dug through countless back issues of the SMPTE Journal in order to provide the following chronology of the changes to the standards:
The March 1957 SMPTE Journal has PH22.104-1957, the standard for 2.55:1 anamorphic (no optical track), with an aperture size of 0.912 X 0.715 inches. Notice of withdrawal of this standard was in the January 1964 Journal.
The December 1957 SMPTE Journal has PH22.106-1957 for 2.35:1 anamorphic, with an aperture of 0.839 X 0.715 inches. It was unchanged in the September 1964 Journal. The November 1965 SMPTE Journal published PH22.106-1965 still with the 0.839 X 0.715 aperture size.
In the September 1970 SMPTE Journal, a new draft of PH22.106 was proposed, with an aperture size of 0.838 X 0.700 inches, to minimize the flashes at splices. This was republished as standard PH22.106-1971 in the October 1971 issue.
In the June 1976 SMPTE Journal, the two (flat and scope) projectable image area standards (PH22.58 and PH22.106) were consolidated into one standard and renamed PH22.195. The publication of PH22.195-1984 in the October 1984 Journal still had the scope area as 0.700 X 0.838 inches.
The June 1992 SMPTE Journal published a proposed revision, with a scope area of 0.690 X 0.825 inches. In August 1993, the standard was published as SMPTE 195-1993, with the current area of 0.690 X 0.825 inches. So August 1993 is when the two formats became the same width of 0.825 inches.
John P. Pytlak
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Dominic Case
Expert Film Handler
Posts: 131
From: Sydney NSW Australia
Registered: Aug 2003
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posted 12-20-2004 05:00 PM
quote:
So much of the frame is taken up with those registration targets or whatever those things are, that the image area is smaller than that for 1.85!
The frame that Steve posted may have been misleading: WIlliam Hooper is right that
quote: William Hooper
the idea of S35 was to utilize the entire frame for image area
. In fact Super 35 does indeed use the full width of the frame (perf to perf) as indicated by the little arrows pointing to the four extreme corners of the frame. It's not just the area of the smaller image in the test frame shown.
When a super 35 frame is reformatted for anamorphic theatrical prints, the top and bottom quarters of the image on the negative are cropped (as the image is stretched to nearly double height and squeezed in just the 10% to clear the soundtrack area). This pays off when these shows are transferred to TV or video in a 4x3 format, as the telecine can zoom out a little to include some of the cropped top and bottom, reducing the need to crop left and right so much in the pan and scan. It's a compromise though, as keeping that top and bottom area clear of mike booms and cables has some penalties.
The other benefit of S35 - using spherical lenses on the camera - is that you can use better lenses. Asking one optic to be anamorphic and be capable of zooming, focussing well at a wide range of distances, and reasonably fast, is a big ask. At least by taking the squeezing function away and putting it onto a fixed optical printer (or now, you can make it a digital function), you can get better lenses on the camera.
The point of using full width of the negative is simply that you can. With conventional 1.85:1 or anamorphic pictures, you contact print everything, so neg and print must be indentical. Once you go to an optical or digital duplication porcess, you are liberated from that. So Steve's point that DI might boost Super 35 is a good one.
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John Pytlak
Film God
Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 12-21-2004 07:41 AM
It is foolhardy to make more than a few prints from the cut original negative. Once the final answer print is approved, any wet gate master positives should be made (for making the duplicate negatives used for release printing, video transfer, and for preservation), as well as any B&W silver separations (used for archival keeping). If a continuous contact printer is used, optimum steadiness and sharpness is obtained by making the master positives on long pitch (e.g., DH-1870 perforations) stock, and using a pin-registered step printer to make the duplicate negatives. The cut negative should then go into a long term film storage facility.
Kodak has an online interactive tutorial about "The Motion Picture Imaging Chain":
Motion Picture Imaging Chain
The biggest risk in printing the cut original negative is that one of the hundreds of splices may fail, and printing does entail some cumulative risk of scratching and embedded dirt.
Fortunately, modern duplicating stocks like KODAK VISION Color Intermediate Film allow making duplicate negatives that produce release prints almost indistinguishable from direct prints:
KODAK VISION Color Intermediate Film
quote:
For the filmmaker, these intermediate films help to preserve all the sharpness, clarity, and color of the original images and carry them more faithfully to the final display screen.
For the laboratory, VISION Color Intermediate Films enable the production of printing elements that are closer in quality to the look of a print made directly from the original negative.
Postproduction facilities will appreciate the features of the VISION Color Intermediate Films, especially improved sharpness for digital output. They're the choice for production of masters for theatrical re-release, video and DVD release, satellite, cable or broadcast TV presentation - or use in any media of the future.
And, audiences will also see the difference - in movies that tell stories with fewer distractions, films with fewer physical imperfections.
KODAK VISION Color Intermediate Films. They're the final link in the motion picture production chain. The bridge that carries all the quality of the original to the final print. And, they're the first intermediate films worthy of the KODAK VISION Film family name.
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