Film-Tech Forum ARCHIVE: Super 35 Assistance Needed

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Posted by Aaron Sisemore (Member # 145) on 03-26-2003, 10:13 PM:

Hello all! [Smile]

Its film festival season here again, and this time I am having to screen two 'raw' (pre-squeeze) Super 35 answer prints (the prints will be struck with Dolby Digital soundtracks to avoid any double-system headaches).

My question is concerning cutting an aperture plate for this format. SMPTE RP40 doesn't have the cutting templates marked for raw Super 35 (and RP40 figures the optical track area into its framing, which I won't need). Is there a test film out there that I can use as a template for cutting a plate? Or must I use trial and error until it looks right?

Thanks in Advance!

-Aaron

Posted by Gordon McLeod (Member # 33) on 03-26-2003, 10:14 PM:

Boston Light I think ahs one

Posted by Rick Long Jr (Member # 541) on 03-26-2003, 10:37 PM:

When I did it for 8 Mile, the studio provided me with a loop. Perhaps they could for you if you ask them?

Posted by Mark Gulbrandsen (Member # 72) on 03-26-2003, 10:45 PM:

Aaron,
Call me at work tommrrow morning with your address and such. I've done countless Super 35 dailies jobs and I have a gob of Super 35 target loops. Would be happy to share one with you.
Mark @ CLACO
801-355-1250

Posted by John Pytlak (Member # 331) on 03-27-2003, 08:26 AM:

The EBU also has a Super-35 test film:

http://www.bksts.com/pdfs/testflm.pdf

D.E.L. also has a Super-35 target:

http://www.broadcastpapers.com/telecine/16x9_setup.doc

And custom targets are sometimes made for a production:

http://www.cinephoto.co.uk/misc_film_16.htm

Posted by Steve Kraus (Member # 476) on 03-27-2003, 10:18 AM:

Dolby Digital without an analog optical track for backup? That's working without a net!

Posted by Bill Gabel (Member # 1105) on 03-27-2003, 10:28 AM:

I've had a few prints in that format come through here like that.

Posted by John Pytlak (Member # 331) on 03-27-2003, 10:57 AM:

For an direct "EK" Super-35 festival print, the normal quad-format sound negative could be printed along with the Super-35 picture negative, using the full width picture aperture and the analog soundhead light off, giving a Super-35 print with only Dolby Digital and/or SDDS tracks. As Steve notes, there's no "safety net" if the digital defaults.

Posted by Josh Jones (Member # 447) on 03-27-2003, 07:58 PM:

provided the print was timed correctly and such, there should not be a reliability issue at all. At home to save my exciters, I just turn off the exciter supply and run digital only. very rarely will it drop out.

Josh

Posted by Brad Miller (Member # 2) on 03-27-2003, 09:42 PM:

I service a couple of theaters without optical sound. The SRD doesn't fail. This is really not that big of an issue. When I run movies in the screening room, I don't even turn on the breaker that powers the leds for the analog pickup. (I also tend to only bother threading up the SRD.)

Usually the production will provide you with a Super 35 loop for alignment. The filmmakers generally like to see it for a few seconds before they start viewing any of their dailies. Be careful of your lamp alignment. You'll be squeezing every ounce of light that you can and your lamphouse will be off center optically if you do not realign things for the Super 35 setup.