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This topic comprises 5 pages: 1 2 3 4 5
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Topic: Everything is Scope this summer
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Thomas Pitt
Master Film Handler
Posts: 266
From: Leeds, West Yorkshire, UK
Registered: May 2007
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posted 07-18-2007 03:33 PM
Not everything is scope these days... I went to see Shrek the Third a couple of days ago, and that was a flat format print.
Also, even if a movie is in scope, most (if not all) of the ads and trailers beforehand are in the flat format - requiring a lens and masking changeover just before the movie starts. I'm not sure if this is the case elsewhere, but in the UK it is.
This can introduce problems, however. Most projectionists will just press the start button, check if the first advert (or trailer) is in frame and focus and adjust if necessary. Then they just leave it for the rest of the movie.
All sorts of things can go wrong though - the lens, masking and aperture gate may not change over properly, the image may require refocusing etc.
Regarding anamorphic lenses on digital projectors; I think this is unnecessary. Simply align the projector to the screen in flat ratio. When you have a 'scope' aspect ratio digital showing, change the masking for scope and feed a letterboxed image to the projector. No lens changeovers required.
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Mike Blakesley
Film God
Posts: 12767
From: Forsyth, Montana
Registered: Jun 99
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posted 07-18-2007 05:48 PM
quote: Dustin Mitchell
In the US scope versions of advertisements and movie previews are commonly available. Running the pre-show in flat and the feature in scope is a very rare thing, though some do it, either out of necessity
When I first got in the biz, all trailers were flat, so there was always a lens change after the trailers if the feature was scope.
The first time I ran an entire program in scope was Titanic (early 1998). Up till then and for several years after, we might run the first one or two trailers in one format and switch to the other for the rest of the trailers and the feature, depending on what trailers we had on hand. I always hated to switch from scope trailers to a flat feature, but sometimes you do what you gotta do.
Nowadays, lens changes mid-show are pretty rare, but I'll still do it if we have a movie that we REALLY need to promote but only have the trailer in one format.
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Cameron Glendinning
Jedi Master Film Handler
Posts: 845
From: West Ryde, Sydney, NSW Australia
Registered: Dec 2005
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posted 07-19-2007 06:33 AM
John. I love films shot well in 1.33 too. Its a great frame for composition, and the extra resolution on a smaller screen.
quote: Bobby Henderson
The native image from those cameras still looks like video. It doesn't look like a film image at all until it has undergone a lot of processing in post production.
Unfortunatly a one light digital transfer of film can look pretty video as well! Grading of film is the most expensive but fun bit of the whole film post production chain, but it is fair to say that for decades now, The colorist and film grading have been a big part of the film look. Before and during the 80's it was common to pick different brands and types of film for a look, ie fuji for its greens, kodak for its warm skin tones, for different scenes in the same movie.
Bobby I agree with you on the examples of crappy digital productions, I too can spot the difference, but its been getting harder and taking longer for me to pick! Personally Zodiac is the first digital film that I actually love the look and didn't realise nor care it was digital.
quote: Anslem Rayburn
Jeebus, why does everyone have to argue on here?
um it is so we can all learn. we do all have different and valid points of view and by uniting in one place people can see and make there own minds up! agreeing and being yes men does no one any good!
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John Lasher
Master Film Handler
Posts: 493
From: Newark, DE
Registered: Aug 2001
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posted 07-19-2007 07:35 PM
quote: Thomas Pitt
Also, even if a movie is in scope, most (if not all) of the ads and trailers beforehand are in the flat format - requiring a lens and masking changeover just before the movie starts.
Actually, here in the US, trailers for flat movies playing in front of scope movies are usually either...
- ...pillar-boxed within the scope frame
- ...enlarged to fill the scope frame a la Super35
OR - ...flat trailers projected in scope by the sort of idiots who you can stand with in front of a 16x9 tv in the electronics store where you both work and say, "Look at how stretched out that image is?" and after taking a moment to process this bit of information, they respond with something earth-shattering like, "Oh, it is? Gee, I hadn't noticed." (This type of presentation seems to be more prevalent the larger multiplex chains.)
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