Super 35

[Renato Timoteo]

Hi to everybody

This is my very first thread here so I´m kind of exited about it, and the reason for it, is because I´m prepping a feature film to be shot in super 35- 3 perf.

First of all some general info about the production. This is a low budget film but with the capability to afford the S35 route, we are based in Mexico City and the idea is to move the post production to the United States.

This is going to be my first experience in the super 35 realm so I have some questions to those who already have walked that path.

What should be my main concern about this format? i know this is to vague for a question but I think is good for starters.

Besides the personal taste what would be the best optic for S35? (highS, masters, cookes, etc.)

Based on the experience , what would be the best post production facility to undertake the DI work flow? (this means from Processing to Release Print) I know there are plenty of them, but i would like to read some comments about a few of them.

 

well this is pretty much it for now, any other comments are welkome.

Thanks for the time.

R.T.

[Arni Heimir]

Hi to everybody

This is my very first thread here so I´m kind of exited about it, and the reason for it, is because I´m prepping a feature film to be shot in super 35- 3 perf.

First of all some general info about the production. This is a low budget film but with the capability to afford the S35 route, we are based in Mexico City and the idea is to move the post production to the United States.

This is going to be my first experience in the super 35 realm so I have some questions to those who already have walked that path.

What should be my main concern about this format? i know this is to vague for a question but I think is good for starters.

Besides the personal taste what would be the best optic for S35? (highS, masters, cookes, etc.)

Based on the experience , what would be the best post production facility to undertake the DI work flow? (this means from Processing to Release Print) I know there are plenty of them, but i would like to read some comments about a few of them.

 

well this is pretty much it for now, any other comments are welkome.

Thanks for the time.

R.T.

 

If money is not an issue then I would go for the master primes. Its sharpness will compensate for the lesser image size over anamorphic. However, Cookes will do fine.

[David Mullen ASC]

Use whatever lenses you normally like for shooting in 35mm. Just remember you are shooting for the big screen, if you've never done that before. Big movies have been shot on all those options and they all look pretty good. A few older lenses don't quite fill Super-35 though that's generally only visible in the corners of 4x3 4-perf Super-35.

 

If you are shooting 3-perf for 1.85, the main thing to remember is that the 3-perf negative is 1.78 : 1, so 1.85 almost uses the whole negative, so hairs in the gate are something to watch out for.

 

Shoot a framing chart.

[Renato Timoteo]

We (director & Me) are thinking seriously to frame for the 2.35:1 in S35, I guess this would be quite risky, do you know any movies that went this way? I guess there are several. Another main concern for me is the post production work flow and facility, any suggestions or advises?

David, Árni, Thanks for the Comments!

[David Mullen ASC]

We (director & Me) are thinking seriously to frame for the 2.35:1 in S35, I guess this would be quite risky, do you know any movies that went this way? I guess there are several. Another main concern for me is the post production work flow and facility, any suggestions or advises?

David, Árni, Thanks for the Comments!

 

Most Super-35 theatrical movies are framed for 2.35, a hundred or so a year, so I'm not sure why you are worried.

 

Just recently I saw "Terminator Salvation", "Angels and Demons", "Wolverine", and "The Watchmen", all Super-35 2.35 movies.

 

It just involves framing for 2.35. Shoot a framing chart that matches your groundglass, for post, letterbox your dailies.

 

I assume you are doing a D.I. to finish the project. In which case, it's just a matter of recording the final color-corrected master out to 35mm anamorphic.

[John Sprung]

Another main concern for me is the post production work flow and facility, any suggestions or advises?

 

Given that you're on a low budget and working in the U.S., talk to FotoKem. They can handle everything from dailies to DI, and they do a lot of low budget and student work. That makes them a good choice for your first time through the process. Using one vendor who can do it all keeps things simple, and if things go wrong, there aren't different vendors pointing fingers at each other.

 

For 3 perf dailies, the way to go is to telecine circled takes to HDTV, offline edit using that, and then scan the selects only in 4K for DI. Your lab/video facility will give you a lot more specific detail, the important thing is to preserve traceability so you can get back to the film, and the sound guys can trace back to the production tracks..... Time code, flex files, that kind of stuff....

 

 

 

-- J.S.