1:2,35 frame in normal 35 and S-35?

[Schmitz von Huelst Moritz]

Next tuesday I will have a shoot on an ARRI BL4 which is still normal 35. We want to shoot in 1:2,35 without anamorphic lenses. My question is how the frame should look like? I dont know the english term for that little piece of glass that gives you the frame. But we changed that piece and we now have a frame that fills out the whole viewfinder from left to right. But I remember that the glass that we took out was slightly moved to the right because of the 35mm sound recording. So now I am a little worried that I still have the wrong frame.

If nobody understands my problem please give me the name of that glass part and I will rewrite the topic.

 

Cheers!

[Jason Cowan]

Schmitz,

 

Could you elaborate on 1:2 for me? Is this your shooting ratio? For example, this would be shooting two (2) takes for every shot.

 

I dont know the english term for that little piece of glass that gives you the frame.

 

"Ground Glass" is the English term. 1.37:1 is the modern academy ratio. If there is not soft/hard matte additions to the ground glass, this will be the standard ratio.

 

You are from Europe, yes? The aspect ration for most theatrical showings is "1.88:1". This may be an important factor.

 

"1.85:1" is the industry standard for spherical 4-perf 35mm capture.

[Steve Munro]

I think he means 2.35:1 as his aspect ratio (i.e. anamorphic). Out of curiosity Schmitz, is there a reason you don't want to be using an anamorphic lens? You'll be wasting a lot of film without it (just get your ground glass with 1.33:1 aspect ratio then mask out the corresponding 2.35:1 and you'll see what I mean).

Steve

[Schmitz von Huelst Moritz]

Jepp, what I meant was 2.35:1 as aspect ratio.

We don't shoot anamorphic because the camera we have is for free and they don't have the extra money to rent anamorphic lenses.

 

just get your ground glass with 1.33:1 aspect ratio then mask out the corresponding 2.35:1 and you'll see what I mean

 

 

We have been to a rental where they gave us a ground glass for normal 35 with the aspect ratio 2.35:1.

But as I said the ground glass has no left spacing (which it should have because normal 35 leaves space to record sound on the negative). And I am wondering if it is possible that the ground glass is only for S-35?

 

Oh yeah, my fault: I am Moritz, just registered with my name wrong around... Anyway, Hi!

[Dom Jaeger]

Jepp, what I meant was 2.35:1 as aspect ratio.

We don't shoot anamorphic because the camera we have is for free and they don't have the extra money to rent anamorphic lenses.

We have been to a rental where they gave us a ground glass for normal 35 with the aspect ratio 2.35:1.

But as I said the ground glass has no left spacing (which it should have because normal 35 leaves space to record sound on the negative). And I am wondering if it is possible that the ground glass is only for S-35?

 

Yes you're correct, if the ground glass frame marking is not offset it will be for S35.

 

I'm not sure you'll even find a N35 ground glass with spherical 2.35:1 markings. The options are generally a scope g.g. in N35 using anamorphic lenses or a S35 g.g. with 2.35 markings for spherical lenses. Cropping a N35 frame to 2.35 will cost you more than half of your neg.

 

Renting a set of Lomo anamorphics shouldn't break the bank. Otherwise, how important is a widescreen aspect ratio to the story? If you don't even have a budget for lenses, it seems a little silly to pay for 35mm quality and then throw half of it away.

[Jason Cowan]

If you don't even have a budget for lenses, it seems a little silly to pay for 35mm quality and then throw half of it away.

Well said.

 

Quick question, would no glass mean academy? And if N35 leaves space for optical soundtrack, is the BL4 capable of S35? I believe it is.

 

Then 1:33.1 is with no soft/hard matte (GG), right? I'm a bit confused.

 

There's lots of ground glass one can obtain from a rental company. Some come with TV safe, crops, ect...

 

Which one would Moritz be most suitable? If he shoots spherical, he's got 1:33.1 & 1.85.1, correct? I mean in the contemporary, of course.

 

And 16:9. But that might be best for him so he can crop for "psuedomorphic", right?

 

I'm still learning here, too. Sorry if that creates any confusion.

[Larry Nielsen]

Ahhh, super 35 2:40, or 2:35 if Arri. A couple things you'll need to know, your mount will need to be spun, of offset in order for you to get the desired exposure area you want, Super 35 instead of academy if that makes sense. you'll have the desired room you seek on the side. Another thing to consider before going this route is do you have the budget for a DI (Digital Intermediate)? Or do you have money in the budget in post for an optical? You'll need access to either in order to get your print set up for the anamorphic squeeze. I'm guessing that since there is no money in the budget for Anamorphic lenses then there is no money for the post process of a DI or an optical. If that being the case then I would start considering 1:85, and letter box. Good luck have a great shoot, communicate well, and most of all....Have fun.

Larry