2.40:1 in super 16mm

[Bartlomiej Sienkiewicz]

Hello.

I have a project coming up on s16mm.

I would like to frame my film in 2.40:1 aspect ratio, but I am not fully aware of how to go about the procedure. I understand there are 2 ways of achieving this. Either shoot 16mm anamorphic or super 16mm with a marked ground glass. If I shoot s16mm, I just mark the GG to mark the aspect ratio for framing, but the neg is still 1.66:1, yes. So is the final aspect done in post production by adding a 2.40:1 mask onto a 1.66:1 telecine image?

Thank you for your help.

 

Bartlomiej

[Chris Burke]

Hello.

I have a project coming up on s16mm.

I would like to frame my film in 2.40:1 aspect ratio, but I am not fully aware of how to go about the procedure. I understand there are 2 ways of achieving this. Either shoot 16mm anamorphic or super 16mm with a marked ground glass. If I shoot s16mm, I just mark the GG to mark the aspect ratio for framing, but the neg is still 1.66:1, yes. So is the final aspect done in post production by adding a 2.40:1 mask onto a 1.66:1 telecine image?

Thank you for your help.

 

Bartlomiej

 

 

I am not aware of any anamorphic lenses available for 16mm, but if there are any, I bet they are not that fast or wide. Realistically, you are left with the other option. With Super 16, yes, the negative is cropped during the final scanning stage. It is done more often now, with the Wrestler as an example. Check out www.finishedit.com/indie for some great deals on an Arri Scan.

 

chris

[Bernie O'Doherty]

Vantage Film/ Hawk Anamorphic just came out with a full series of S16/2;40 lenses. They look amazing. I'm sure the price is up there, but some rental houses already have them, I hear.

[Oliver Christoph Kochs]

I have seen and tested these Vantage lenses at the Cinec in Munich. They're 1,3x fixfocus primes and squeeze a 16:9 frame for a 1:2.35 (scope) release. In general: Every optical compression degrades the image significantly on the horizontal sides because of squeeze (and desqueeze). You probaby all know ;-P

In this case to keep it short:

If you shoot S16 i' d give it a NO (image quality and cost)

if you shoot Digital S16 size (like the SI2K or RED) i'd give it a GO (quality will probably increase without cropping for theatrical release)

 

It's just from my experience that anamorphic 16mm (or S16) does not make much sense.

Any other opinions?!?