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Aspect ratio Super 35mm to HD 16:9


ny_lonestar
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Hello,

 

I work in post as an assistant editor and I we are currently taking on a project that is shooting in Super 35mm and finishing in both HD and NTSC. Now my question is...when they transfer from the film to HD what are we losing...is all the information there or is some being cropped. what is the aspect ratio of Super 35 vs HD? so would the production team have to frame it for 16:9?

 

 

Also would it make sense to first transfer to HD and then from HD to NTSC if they want to finish in both?

 

hoping this is the right forum to be in, maybe i should post this in the editors forum as well.

 

thx for any help

 

Andrea

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Hi.

 

They're shooting super35. What aspect ratio do people NORMALLY shoot super35 for? If they're not calling it "Big TV" or something? Surely you know what the output format of the production is; that's what you should get.

 

Having said that.... I've seen 16:9 productions being cut on horizontally-stretched material because the one light offline transfer was done as letterboxed, so I guess it's as well to be sure.

 

Phil

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Hello,

 

I work in post as an assistant editor and I we are currently taking on a project that is shooting in Super 35mm and finishing in both HD and NTSC.  Now my question is...when they transfer from the film to HD what are we losing...is all the information there or is some being cropped.  what is the aspect ratio of Super 35 vs HD?  so would the production team have to frame it for 16:9?

Also would it make sense to first transfer to HD and then from HD to NTSC if they want to finish in both?

 

hoping this is the right forum to be in, maybe i should post this in the editors forum as well.

 

thx for any help

 

Andrea

There are a number of ways to deal with the aspect ratio and cropping problem. As an assistant editor, you should ask your editor how it's being done on your project. If he doesn't know, then he needs to get the producers, director, DP, and video facility together for a meeting to get everybody on the same page.

 

The economics pretty much dictate that if you want both HD and NTSC, you finish the show all the way in HD, then make a downconversion. No way would you want to pay for telecine twice, or even online twice.

 

If the NTSC can be letterboxed, that's the ideal way to go. If not, you have to know whether it's straight center cut, or pan and scan, or tilt and scan, and whether the titles and credits will be re-done for the NTSC version. Answers to all these questions should exist internally within your production at this time. If they don't, your editor needs to make that meeting happen to hammer out these details. While you're at it, get them to think about sound, do they want 5.1? Do they need to print master for LtRt or mono?

 

 

 

-- J.S.

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4-perf Super-35 Full Aperture is 1.33 : 1 (4x3) and 3-perf Super-35 Full Aperture is 1.78 : 1 (16x9). However, most people shooting 4-perf Super-35 are composing for some widescreen aspect ratio (1.78, 1.85. 2.39) so cropping to 16x9 for a transfer to HD (which is 16x9) isn't going to kill you unless you had planned on using more of the height of the 4-perf Super-35 frame to make the 4x3 pan & scan version, rather than just extract that from the 16x9 HD master.

 

It would be better to do one 23.98P HD post and then make various NTSC and PAL versions from the HD master.

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Great thx! that's what i was looking for David and thx for all the responses!

 

 

4-perf Super-35 Full Aperture is 1.33 : 1 (4x3) and 3-perf Super-35 Full Aperture is 1.78 : 1 (16x9).  However, most people shooting 4-perf Super-35 are composing for some widescreen aspect ratio (1.78, 1.85. 2.39) so cropping to 16x9 for a transfer to HD (which is 16x9) isn't going to kill you unless you had planned on using more of the height of the 4-perf Super-35 frame to make the 4x3 pan & scan version, rather than just extract that from the 16x9 HD master.

 

It would be better to do one 23.98P HD post and then make various NTSC and PAL versions from the HD master.

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