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Author
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Topic: Running a 1.33 picture with 1.85 lenses/plates
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Leo Enticknap
Film God
![](http://www.film-tech.com/ubbmembers/534a.jpg)
Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000
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posted 10-31-2014 01:15 PM
If the frames on the print are all 1.37 hard matted, then the 'scope plate and prime lens will do more or less fine. Your audience will see the matte line and rounded corners, but for a one-off show that isn't going to kill them.
However, a lot of 1930s shows include shots that were taken with a full aperture silent camera and only duplicated through the intermediate stages by continuous contact printing (no opticals or effects introduced). Therefore, the result will be that these shots are full height on the release print - they look like 'scope frames, only not anamorphic. If you use your scope prime and plate to show those, you'll show unwanted action top and bottom, including, possibly, boom mics. The image size will also appear to change in cuts between matted shots and full height ones.
However, that's still a helluva lot better than 1.85.
The scope backing lens is also a good ghetto-rigged solution for full-gate silent prints, too, though for those you obviously need to use no aperture plate at all and try to do something to center the image (e.g. take a crowbar to the projector pedestal), or else you'll be cropping some of the left hand side of it.
Afterthought: I'm guessing that apart from the opening scenes and those on the boat, most if not all the shots in King Kong will be process shots, and thus step printed and Academy-matted. Weird - I've seen that movie hundreds of times, but all on video (plus once on 16mm): I don't believe that I've ever shown or seen a 35mm print of it. It would be a great one to see a nitrate print of (if any survive in projectable condition), with all that detail in the dark end of the midtones.
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