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This topic comprises 8 pages: 1 2 3 4 5 6 7 8
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Author
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Topic: "Minority Report" in 2.39? What gives?
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Brad Miller
Administrator
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Posts: 17775
From: Plano, TX (36.2 miles NW of Rockwall)
Registered: May 99
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posted 06-20-2002 10:35 PM
Empire of the Sun was flat. The only non-Lucas related scope movies Steven has made are Close Encounters, Jaws, Hook and maybe that first one (the title escapes me). By the time he finished those he started to see how bad the films transferred to video a-la pan and scan and has shot flat ever since.Steve has always been paranoid about how his movies look on video, but he has always wanted the highest quality possible in the theaters. My guess is he finally realized that shooting in Super 35 gives him the best of both worlds (at a slight compromise of each). It gives him the security of knowing he can reframe each shot on the video transfer by showing more picture area at the top and bottom of each shot AND it gives him the larger aperture that scope provides (sharper and brighter picture) in the theater. While I would rather see good old fashioned anamorphic photography, I will always take Super 35 over conventional flat ANY DAY! With today's filmstocks and cameras, Super 35 can look damned good. (The 70mm print of Titanic I ran looked sharper than any previous 35mm anamorphic blowup I have ever seen.) The real problem seems to be the guys at the labs screwing it all up printing too fast.
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Manny Knowles
"What are these things and WHY are they BLUE???"
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Posts: 4247
From: Bloomington, IN, USA
Registered: Feb 2002
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posted 06-20-2002 11:57 PM
"That first one" would have been SUGARLAND EXPRESS with Goldie Hawn.Don't know if it was scope or flat. Some have suggested that this choice may have been influenced by Tom Cruise. I was told that Disney did not endorse the scope format because of the wildly varying quality of anamorphic theatre lenses. I must say, I've got wildly varying scope lenses. Some of them make the picture look smeared. I am trying to replace them now because more and more movies are being released in the scope format. Nearly every movie we are running right now is scope.
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John Pytlak
Film God
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Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 06-21-2002 08:01 AM
Brad said: "While I would rather see good old fashioned anamorphic photography, I will always take Super 35 over conventional flat ANY DAY! With today's filmstocks and cameras, Super 35 can look damned good. (The 70mm print of Titanic I ran looked sharper than any previous 35mm anamorphic blowup I have ever seen.) "Super 35 can be "Film Done Right": http://www.theasc.com/magazine/dec97/titanic/pgs35/pg1.htm http://www.cameraguild.com/interviews/chat_carpenter/carpenter_titanic.htm When using Super 35, the image can be composed for 2.39:1 "scope" theatrical release, but additional height of the frame "protected" so the video release can have a less severe "letterbox". ------------------ John P. Pytlak, Senior Technical Specialist Worldwide Technical Services, Entertainment Imaging Research Labs, Building 69, Room 7525A Rochester, New York, 14650-1922 USA Tel: +1 585 477 5325 Cell: +1 585 781 4036 Fax: +1 585 722 7243 e-mail: john.pytlak@kodak.com Web site: http://www.kodak.com/go/motion
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