Jon O'Brien Posted October 12, 2021 Share Posted October 12, 2021 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. Link to comment Share on other sites More sharing options...
Gautam Valluri Posted October 12, 2021 Share Posted October 12, 2021 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. Link to comment Share on other sites More sharing options...
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