Philip Pritchard

Interesting. Tx. This scratch reduction has to do with the angle of the light passing through the film being modified and thereby simply not even picking up many 'superficial scratches' that did not impact the detail embedded deeper in the film... and could be easily switched on or off.

I was at NAB this last week and saw the Cintel Scanner Demonstrated. Looked quite nice and had a 'scratch reduction' setting. How does this thread feel about the Cintel quality these days? I think the new version spoken about above is now out right? Tx

@Joerg Polzfusz Nice thanks and thanks @David Mullen ASC for the above diagram. Techniscope and Super Techniscope movies look great as referenced by the history from Spaghetti Westerns to, Greystoke, Terminator, I Tonya and Ad Astra and many others. Wide screen non anamorphic with all the texture of film.

Thank you for that detailed response @David Mullen ASC. Glad that one of my favorite films 'Greystoke' played a part in this history too. As a first time potential 35mm film camera buyer I am going back n forth between 3 perf versus 4 perf (4 perf is more available at affordable rates - and setting aside the more expensive cameras that do both)) and they both have different benefits. 3 perf is attractive bec we now have great 1.5x anamorphics like the Atlas Mercuries and also one can do standard 16/9 or 17/9 without 'wasting' film. I love Spaghetti Westerns too, but shooting everything in techniscope may not be the best use of the investment! (Or maybe it is!). I know I can rent too of course, but I like the idea of owning a versatile, light, film camera like a moviecam SL Mk1 or MK2 for example, that one could shoot multiple formats with. @Joerg Polzfusz appreciate the reference too, thanks.

I see some films shot in 4-Perf that end up with a 1.85/1 or 1.77/1 Aspect (Rocky Balboa/Jurassic Park/Dangerous Liaisons). Is this always done either bec they need some extra space above and below for Visual Effects reasons or bec they couldn't find a 3 Perf Camera for that particular job (less likely I assume)? I.e. Wouldn't it have been cheaper to use 3 Perf whilst using the same area of the Negative. I guess by the same token how do 3 perf movies (like Quantum of Solace/Shutter Island) end up being 2.39/1, i.e. why didn't they use 4perf and get to 2x anamorphic that way? (Novice question I am sure..but any replies appreciated..tx!)

Dan Goulder. How did your 2 perf film turn out?! (Sorry playing very delayed catch up on these threads!)

Great responses here!

Hi Nick, How are you getting on with that BL4? Phil.

If I see an Arri BL4 for sale for $5k and it says 'stable at 24fps' does that mean it will disintegrat 25?!

I have the Ursa G2 and have hardly used it. I prefer the look of the 4k with a Speedbooster, or the 6k. Until.....Komodo that is! (Side note - I have had no issues with Blackmagic at all and Grant Petty deserves an award for sure!). Of course ArriCam or Alexa would be ideal. I wrote to Arri recently (as I was looking at their pre-owned line up) to ask them about the Alexa Classic and whether it truly has the same sensor as every other Alexa and they confirmed that it did. That being said they did advise that shooting on any Alexa before the Mini, would be a challenge mainly with the cost and availability of recording media, and hence they advise that Mini would be ideal (more expensive I know, but I don't think they needed to upsell me). I got very detailed reply from 2 technicians there, who clearly love their work, resulting in me having (even more) respect for Arri.