From: Jeff Kreines (email suppressed)
Date: Mon Jun 15 2009 - 11:13:42 PDT
This is a big problem as most cinemas can't even deal with Academy
1:1.33. Disney solved this when re-releasing older films by making
pillar box projection prints that could be projected with standard
1.85 masks and lenses.
Digital projection may help BUT you may have problems getting a full
frame scan. (I deal with this a lot as I make archival film scanners
and scan lots of full aperture films, even preserving edge markings.)
Good luck!
Jeff "1.33" Kreines
Sent from my iPod
On Jun 15, 2009, at 12:34 PM, Myron Ort <email suppressed> wrote:
> Thanks for the response. I does sound like I would have to rely on
> the ingenuity of projectionists to make sure my film was properly
> presented. My "1:33 full" is a little different that the print you
> describe since it does not have the black bars top and bottom but
> goes all the way to the "thin" frame line.
> From what I understand even the thinness of these frame lines has
> many variations, over and above the obvious black bars you mention.
>
> The other question is whether today's venues can show full aperture
> silent 35mm? (which I believe is equivalent to today's "Super
> 35mm" format --not usually meant for projection as is.)
>
> Myron Ort
>
>
>
> On Jun 15, 2009, at 2:44 AM, mat fleming wrote:
>
>>
>>
>> We ran Eric Rhomer's "L'Amour D'Astre et Celadon" last night in our
>> cinema. The film was made a couple of years ago in 1:1.33 (blow up
>> from std 16mm). It had been printed at thought it was 1:1.85 with
>> black bars up the side as well as top and bottom which i'd never
>> seen done before. It is a neat solution. We have no 1.33 aperture
>> but with the scope apeture (which is taller than 1:33) and the
>> right lens and proper screen masking it's really the same thing. I
>> would have thought festival venues and venues used to showing old
>> films and art films should have no trouble at all as long as
>> they're made aware of the aspect in advance.
>>
>> It's a great film if you the chance to see it.
>>
>> Mat
>>
>> On Mon, Jun 15, 2009 at 12:30 AM, Ed Inman <email suppressed>
>> wrote:
>> A regular scope aperture plate with a flat lens would theoretically
>> give you about 1:1.18 which might be close enough. You would still
>> need a longer lens (or perhaps a zoom attachment that can reduce)
>> to fit the frame vertically in the screen.
>>
>> -----Original Message-----
>> >From: Myron Ort <email suppressed>
>> >Sent: Jun 14, 2009 4:43 PM
>> >To: email suppressed
>> >Subject: Re: 35mm projection options
>> >
>> >That is discouraging news. I was hoping that "1:33 full" was not
>> that
>> >uncommon. This is the format which A) has a soundtrack area, and B)
>> >uses the frame all the way to the h/v edges (eg. not cropped down).
>> >Do I have my nomenclature correct by calling this "1:33 full"?
>> >I was hoping to be able to show it as a film. But it does emphasize
>> >the point to me that digital projection avoids all this. Once
>> >transferred to digital, these aspect ratio issues seem so much
>> easier
>> >to deal with.
>> >
>> >Myron
>> >
>> >On Jun 14, 2009, at 2:00 PM, Ed Inman wrote:
>> >
>> >> Only a few specialty cinemas will likely be set up for anything
>> >> other than 1.85 flat or 2.35 scope, although most cinema equipment
>> >> dealers can easily enough order the necessary additional aperture
>> >> plates for whatever projector is being used.
>> >> There is also no shortage of older used lenses sitting around in
>> >> warehouses for $50 or $100 a pop, although new ones can cost
>> >> thousands of dollars.
>> >> If you know the exact footage from the projector to the screen
>> >> there is a lens calculator downloadable at film-tech.com that will
>> >> guide you as to what length lenses are needed for various formats.
>> >> Ed
>> >>
>> >> -----Original Message-----
>> >>> From: Myron Ort <email suppressed>
>> >>> Sent: Jun 14, 2009 2:49 PM
>> >>> To: email suppressed
>> >>> Subject: Re: 35mm projection options
>> >>>
>> >>> Do venues which show 35mm film usually have all the gate options?
>> >>>
>> >>> Say, If I have a print which is "1:33 full" (with soundtrack),
>> can I
>> >>> assume venues which show 35mm can accommodate? Say I have a film
>> >>> which is "Super 35mm raw" that is to say "Ye Olde Edison silent
>> >>> format" ?
>> >>> Seems like a big can of worms to me at this point. Maybe I am
>> making
>> >>> this more complicated than it is.
>> >>>
>> >>> (much of my thinking here is due to economics, that is, avoiding
>> >>> expensive optical reformatting lab work)
>> >>>
>> >>> What 35mm format is "Garden of Earthly Delights", for example.
>> >>>
>> >>> Myron Ort
>> >>>
>> >>>
>> >>>
>> __________________________________________________________________
>> >>> For info on FrameWorks, contact Pip Chodorov at
>> <email suppressed>.
>> >>
>> >>
>> >> __________________________________________________________________
>> >> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>> >>
>> >
>> >
>> >__________________________________________________________________
>> >For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>>
>>
>> __________________________________________________________________
>> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>>
>> __________________________________________________________________
>> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>>
>>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
>
__________________________________________________________________
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.