Film prints today

[Jon O'Brien]

How are film prints made today, for example to 35mm anamorphic or 70mm for theatre projection? Who does the work? Is it always with a DI, and what does it cost? I gather that these days shooting on Super 16 would look 'pretty good' with a DI, and blown up to 35mm anamorphic. That is, if you like to see a bit of grain.

[Gautam Valluri]

It's mostly DI. A lot of films that are partially shot on digital cameras like the Alexa also get printed onto 35mm/70mm for projection prints. These are mostly done on Arrilaser, and it costs a lot of money. These are of course done for very few films that are intended for a cinephile audience. Tarantino has been doing 70mm and 35mm prints from a 4K DI for his past few films and for 'The Hateful Eight' did everything photochemically timed I believe. PTA and Nolan do photochemical 70mm and 35mm prints regularly.

As for Super16, the format was originally designed to be blown-up to 35mm or telecined to Beta SP tapes. Most Super16 originated films these days go through a DI towards a 2K DCP and the rare ones that do end up on 35mm. Super16, optically blown up to 35mm can look very good if it was handled by a competent colour timer and lab.