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steve hyde

Remarkable Color Negative clips

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I had a conversation with Myron Lenenski at CinePost in Atlanta this morning. He is strongly suggesting I shoot my upcomming Super 8 short with an anamorphic adaptor on the lens. I have never used one.

He told me anamorphic will look better projected DigiBeta at film festivals.

 

I was reminded of this excellent footage shot by Yemi and posted at Filmshooting.com I found the clips and viewed them again. Looks like S16 to me.....

 

http://www.filmshooting.com/scripts/forum/...b8999b699d535d0

 

 

Opinions on S8 anamorphic for DigiBeta projection? Pros? Cons?

 

Thanks in advance,

 

Steve

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Well, a 1.5X squeeze on Super-8 gives you a 1.995 : 1 aspect ratio when unsqueezed. 16x9 anamorphic (digi-beta or not) is 1.78 : 1, so you'd be cropping the sides of the frame to get 1.995 to fill 1.78, versus shooting 1.33 and cropping top & bottom to get 1.78.

 

So whether it's worth it all depends on the quality of the anamorphic lens, although technically you'd be better off with a 1.33X squeeze, not a 1.5X squeeze. A lot of anamorphic lens adaptors give you softer focus, so it sort of counteracts any improvements in grain.

 

The clips look great. In his case, since this was just for video presentation, he could letterbox to his odd nearly 2:1 ratio and not crop.

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Guest santo

It's hard to tell exactly how good this footage looks as it's half-size and mpeg4 compressed. But like I said originally in that thread, that V2 200t is great in super 8, Kodak should introduce V2 100t in super 8 ASAP, and the pressure plate works well to produce a firm image in cameras that need it.

 

However, you're going to get a softer image this way. There's no getting around it. Maybe that doesn't matter with your project?

 

I'm wondering what workflow this guy is proposing. Is it:

 

Compressed image on your film - digitized as it is - then back to you to decompress on your computer for editing and finishing? Or do they send it back to you already widescreen? Or is there some other scenario?

 

Steve, for a guy instantly poo-pooing a little extra money for prime lenses and uncompressed super 8 transfers, you seem pretty willing to consider expensive anamorphic lenses and digibeta widescreen. ;)

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Thanks David. I'll be doing a bit of homework on using anamorphic adaptors in the near future. The lens Yemi used is high priced for a starving student like myself. It's a bit weird for me because I'm learning filmmaking in an NLE world where everything is made into awkward little quick time clips. I feel left in the dark on the ins and outs of projecting the final film. Fortunately, I will be screening some DigiBeta samples of my work at "Modern Digital" here in Seattle in the near future - yet even then they have to capture the footage to hard disk before projecting it, which makes it something other than a DigiBeta projection in the end. I need to talk to some projection experts before I go off and do something stupid. That said, anyone reading this with suggestions - please suggest away..

 

Santo, Yes..I'm poo pooing myself for buying a prime lens for my Beaulieu :blink: Now the guys at the post house are going anamorphic on me!! Personally I like 4:3 and will likely visually design my film to be shot in that aspect ratio....just measuring options at this point.

 

My workflow is a double system post that looks a lot like this one:

 

http://kbase.communication.utexas.edu/kbas...ow_parameters=1

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Thanks David. I'll be doing a bit of homework on using anamorphic adaptors in the near future. The lens Yemi used is high priced for a starving student like myself.

 

Yeah, I think the lens he used was an ISCORAMA 54 1.5x.

 

It's a little bit difficult to find but I saw one on Ebay a few weeks ago. It was sold for $385.00

 

http://cgi.ebay.com/ISCORAMA-54-1-5X-ANAMO...1QQcmdZViewItem

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The KODAK VISION2 Color Negative Films have amazing exposure latitude. Don't be afraid to give an extra stop of exposure to the films to give "richer" blacks, more shadow detail, and reduce the graininess. Exposing the 200T 7217 as an EI-100 film or the 500T 7218 as an EI-250 film should produce surprisingly good images.

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