difference between ansi and din groundglasses

[Gregor Grieshaber]

hi guys,

 

could someone please be so kind and explain to me the difference between ansi and din groundglasses in s35. the ansi seems to have a larger width but can you always go for ansi?

 

thanks for the replies

 

 

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gregor grieshaber

2nd assistant camera

berlin, germany

[Jon Kukla]

http://www.motionpicturerentals.com/Rental/UltraPrimes.html - see the bottom. Looks like ANSI is slightly larger and is the only option for Arricams (if you're using them). Of course, the most important thing is to check that each of the cameras has identical ground glasses and to shoot a proper framing leader...

[Gregor Grieshaber]

thanks for your reply jon,

 

this seems to be it. never heard about that before but i would try now to get an ansi groundglass for additional 435s or 235s when we shoot with an arricam.

of course you have to shoot a proper frameleader for each camera. i made one in illustrator with two siemensstars to adjust focus if you see the daylies projected. if someone is interested let me know...

 

greg

 

 

 

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gregor grieshaber

2nd assistant camera

berlin, germany

[Jon Kukla]

It's good that you're diligent enough to do a separate framing leader for each camera, but in my experience, having a consistent ground glass for all the cameras tends to be more important. Mainly because the people on the post-side of the work, whether it be the lab, editor, or projectionist, tend not to pay terribly much attention to which camera the work was originating from; it's most likely that they'll just check against *one* of the frame leaders and continue the rest from that one. The only obvious exception would be if you're using mixing different formats like anamorphic, 4-perf and 3-perf S35, etc... That's why I find the consistent groundglass issue to be more important; you can't depend on them to match the different rolls to each camera's frame leader, even if you do the legwork of providing each.

[Gregor Grieshaber]

it's most likely that they'll just check against *one* of the frame leaders and continue the rest from that one.

 

that would be very poor in my opinion, as we mentioned above if you shoot i.e. with an ansi arricam and a din 435 the framings would have different sizes... and i doubt that at different camera models the framing is always at exactly the same point of the negative.

if i shoot with several cameras i name the rolls with the camera letter. and the frameleader will always be the first roll for each camera. i.e. #a1 is the frameleader of camera a, #b1 the frameleader of camera b and the first rolls we shoot on the shoot are #a2 and #b2. with this system nobody can loose the frameleader even not in 10 years. and it should be pretty clear wich one belongs to wich camera. but maybe you are right. on the next job i will call the guy in the telecine and aks how he handles it.

 

greg

 

 

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gregor grieshaber

2nd assistant camera

berlin, germany

[Jon Kukla]

Hey, I think that's a good system, and I applaud you for it. Unfortunately, things don't always go as they're supposed to in post-world, and I've seen it happen a fair number of times. (This isn't an attempt to insult what generally are quality technicians, but mistakes inevitably happen now and then.) My dictum is always "minimize the potential for f***-up". Talking to the post guys is always a good idea. ;)

Edited September 24, 2007 by Jon Kukla