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Hi everybody, I have a question related to the film To the Wonder by Terrence Malick. In an interview for the American Cinematographer magazine, director of photography Emmanuel Lubezki says that for “To the Wonder we did some tests and decided on the compromise of going 2.35 but shooting spherical— partly because I really, really love the sharp, clean Master Primes. We also went with spherical because we were shooting in a lot of houses.” Since Lubezki speaks about the 'compromise' of going 2.35 but shooting spherical, my question is: does that mean that they shot super 35 and then cropped the image, therefore loosing some part of the original frame? Thanks!

As mentioned in an earlier list, I am about to shoot my final diploma film. We are in a process of finalizing the visual form of the film and using anamorphic lenses is one of the ideas. We have Kowa Prominar lenses available at the institute which got serviced yesterday. With few students along I took few shots just to see how they are performing post servicing. Although I intend to shoot my diploma film on 35mm Film, these few shots were taken on an Arri Alexa XT. Prores HQ. Rec 709. In available light. ND filters were used in exterior shots. It is not a test but I would like to have a feedback on it from the members, not only with respect to technical elements like distortion and flaring but also using these lenses and format as an aesthetic choice. Would be sharing detailed test on film as well as digital soon. Regards Shashank Walia Class of 2011 Cinematography www.ftiindia.com

I'm throwing ideas out because I'm interested in shooting 2.39 with standard 16mm film, which would thus require 2x Anamorphic Lenses with a 1.19 Frame on a standard 16mm strip, specifically this means fitting the largest 1.19:1 rectangle possible on 16mm, single perf or double, whichever gives more room efficiently without compromising steady feed. 1. Is it possible? 2. Who could manufacture such a film? 3. What would it cost? Thanks for reading this madness. -Steven