The Monkey (35mm)

[Jim Cassedy]

The Monkey (35mm)
Aspect: FLAT/1:85 (Hard Matte)
Sound: Dolby SRD
Projection Reels: 6 (1hr/38min)
Film Stock: Fujicolor Eterna 3512
Lab: Labodigital SA (Mexico)
> Shipped On Cores

Notes: Although shot on film, post-production
and release were all digital. 35mm prints are
digital-to-film transfers.

> 35mm release prints are on 6 reels, but
reel six is only 1000ft and is almost all credits.

> I believe these slightly oversized cue marks were
electronically generated. Odd shape (for FLAT) but
at least they're easy to see! . . and it beats having NO
cue marks, like many of the film-out prints I get here.

MonkeyCues.jpg
Hey! Those aren't Q's, they're "O"s !

[Chris Haller]

What a fascinating way to present The Monkey - I wonder how many other F-200 movies have been printed onto film like this. And on Fujicolor, to boot. I guess you just draw your masking to 1.85 and show it with slight letterboxing. Silly stuff.

[Sascha Roll]

Uff, i can smell CINEVATOR...

[Jim Cassedy]

(edited) I wonder how many other F-200 movies have been printed onto film
like this. I guess you just draw your masking to 1.85 and show it with slight letterboxing. .

Although the DCP CPL identifies the aspect ratio as "F-200", and it appears that it is, I strongly
believe that the 35mm version has been cropped to 1:85. There are a couple of scenes in the
35mm version where the composition looks a bit "off" to me. I'm going to make a note of those
scenes next time I run the 35mm, and then look at the same scene in the DCP. But the 35mm
is definitely 'spot on' 1:85. I have not had to adjust my masking at all, and if I pull the aperture
plate out, the image is still preciously 1:85 (except for the sound track hitting the left masking)


MonkeyLeader.jpg

Uff, i can smell CINEVATOR...

I'm not sure this one is a CINEVATOR™️ print. All the Cinevator prints I've gotten so far
had unique leaders, and also had Cinevator's name on several frames. THE MONKEY
does not. These prints were made by Labodigital in Mexico. I tried looking up info on
their website, and it appears that they have several locations, and the website seems
to indicate that they have both ARRILASER and CINEVATOR machines. But as I said,
CINEVATOR leaders usually has their name on them, and their 'countdown clock-wipe'
style was also slightly different than what I've got on this print.

[Ryan Gallagher]

Cropping F200 to F185 for 35mm seems like a reasonable solution. I could easily show a matte 200 within a 35mm frame here, but only cause I can tip down and adjust top masking.

But to do it "proper" I'd probably want a slightly wider lens cause there is definitely more screen to use back there. Does anyone actually already have a lens specifically for 200? I doubt very many, certainly not your average plex that might still have 35mm capacity.