Panayiotis Salapatas

Last year we completed the film "Een ander zijn geluk" www.eenanderzijngeluk.be/

 

It was shot on Super 35/3 perf using an Aaton 35-III camera and Zeiss HS lenses mostly used wide open. The DoP Frank vanden Eeden created a stunning visual style, earning him personal congratulations from Vittorio Storaro, president of the Jury at the Thessaloniki Film Festival.

 

Because of some technical problems we had to do about 10 minutes digitally to mix with the optical blow up.

 

The 3-perf negative was first printed directly to 4 perf positive for grading purposed, the IP was an optical blow up to 4perf Anamorphic and the dupeneg was optical 1:1 printed for maximum sharpness.

 

The main problems in 3-Perf work are the Keykode operations, since they run at 64 perf intervals,not divisible by 3.

Hi Dirk,

Thank you for your reply. I wanted to ask if there was any reason why super35mm - 3perf was chosen for the feature "Een ander zijn geluk"over let's say super 35mm 4-perf. Was it that one ususally saves around 25% in film an printing?

Dear all,

I am planning to shoot a feature film on 35mm and the director is thinking of going anamorphic. There is also the possibility of super 35mm and there has been some talk on super 35mm?3perf. I know some of the pros and cons of anamorphic vs super 35mm but don?t know much about spuer 35mm-3perf. Is it expensive in the optical process as super 35mm-4perf is? Any people out there who have had experience with anamorphic. Also the film will take place in Alaska on a boat which means there needs to be a small light crew. How diificult is anamorphic to shoot?

Thanks

panayiotis

Been discussed many times before -- do a search.

 

Generally, you will need to "roll your own", and then find a motion-picture lab willing to take the risk of processing short lengths in their continuous transport processing machine. (The many splices required to splice together short lengths increase the risk of a film break in the machine.)

 

Both Kodak and Fuji have occasionally supplied "test" samples as still cartridges, but I personally feel that shooting short lengths of actual moving footage is a much better way to evaluate a film for motion-picture use.

Dear Mr. Pytlak,

thank you for your reply and help.

I am a cinematographer and would like to test some film stocks.

Any idea where I can find motion picture film stocks (Kodak or Fuji) for SLR cameras in order to do some tests? I used to live in Los Angeles and there that lab RGB on Hinghland avenue and used to buy rolls of different stocks but just found out that they went out of business.

Now I live in Athens, Greece. Of course any link to any lab in the world will do.

Thanks

Panayiotis