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» Film-Tech Forum ARCHIVE   » Operations   » Film Handlers' Forum   » super 35 and aperture plates (Page 1)

 
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Author Topic: super 35 and aperture plates
Scott Norwood
Film God

Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99


 - posted 06-04-2006 08:10 PM      Profile for Scott Norwood   Author's Homepage   Email Scott Norwood   Send New Private Message       Edit/Delete Post 
What is the easiest way to cut aperture plates for 2.39:1 super 35 material (full width, no soundtrack)? I made an attempt at this tonight, but a standard 1.85 plate is slightly too tall. Does one need to start with a pinhole plate, or is there a standard size which is slightly shorter than 1.85?

This was for film tests for a local production. The screening is over, but I'd like to know how to best do this if/when the issue comes up again. The projectors in question are Century Cs, but I'd be curious to know if any manufacturer sells pre-cut plates for this application.

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Mark Gulbrandsen
Resident Trollmaster

Posts: 16657
From: Music City
Registered: Jun 99


 - posted 06-04-2006 09:03 PM      Profile for Mark Gulbrandsen   Email Mark Gulbrandsen   Send New Private Message       Edit/Delete Post 
Have been on many Super 35 productions! No ready mades available for any projector that I am aware of. Use the production's focus/framing leader(if they have it) to carve your own from pinhole plates. Use a nibbling tool to get close and a file to clean it up to size. Take your time and be careful and you'll get it the first time around. Also... if they care to, have the DP, editor, and director look at it to make sure it is the final plate that THEY want watch THEIR film through.

Mark

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Paul Mayer
Oh get out of it Melvin, before it pulls you under!

Posts: 3836
From: Albuquerque, NM
Registered: Feb 2000


 - posted 06-04-2006 09:10 PM      Profile for Paul Mayer   Author's Homepage   Email Paul Mayer   Send New Private Message       Edit/Delete Post 
The one time I had to do it, we started with a pair of "1-under" 1.85 plates for the Simplex XLs. The height ended up working perfectly on their focus leader with only a little touch up filing needed.

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Steve Guttag
We forgot the crackers Gromit!!!

Posts: 12814
From: Annapolis, MD
Registered: Dec 1999


 - posted 06-05-2006 06:53 AM      Profile for Steve Guttag   Email Steve Guttag   Send New Private Message       Edit/Delete Post 
Simplex and Century plates have a 2:1U version that may work as a starting point. Kinoton does offer various precut S35 plates...I'm not sure where they got their numbers though...the width is pretty much perf-to-perf (.413" x .969").

[ 06-05-2006, 08:07 AM: Message edited by: Steve Guttag ]

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John Pytlak
Film God

Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000


 - posted 06-05-2006 08:38 AM      Profile for John Pytlak   Author's Homepage   Email John Pytlak   Send New Private Message       Edit/Delete Post 
The "extracted" areas for Super-35 are as follows:

1.85:1: 0.945 x 0.511 inches

2.39:1: 0.945 x 0.394 inches

The vertical centerline of the image is on the film centerline, nominally 0.688 inches from the reference edge (outboard edge in the projector) of the film.

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John Hawkinson
Film God

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From: Cambridge, MA, USA
Registered: Feb 2002


 - posted 06-05-2006 05:33 PM      Profile for John Hawkinson   Email John Hawkinson   Send New Private Message       Edit/Delete Post 
For a one-off screening, would it not be easier to mask it on the port glass?

--jhawk

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Steve Guttag
We forgot the crackers Gromit!!!

Posts: 12814
From: Annapolis, MD
Registered: Dec 1999


 - posted 06-05-2006 06:20 PM      Profile for Steve Guttag   Email Steve Guttag   Send New Private Message       Edit/Delete Post 
Typically, when one is doing a Super-35 show, it is to verify that the day's shoot was good...a port glass aperture would not be sufficient...furthermore, unless short focal length lenses are used, it is likely that the port tape would not be enough in focus to provide anything resembling a crisp edge.

Steve

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Scott Norwood
Film God

Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99


 - posted 06-05-2006 11:40 PM      Profile for Scott Norwood   Author's Homepage   Email Scott Norwood   Send New Private Message       Edit/Delete Post 
In this case, it wasn't particularly critical; they were testing a couple of different camera stocks (5229 and 5279) and a bleach-bypass process on the negative. The DP suggested running it with the 1.85 plates, but was quite pleased that I was able to cobble together something a bit more appropriate (he didn't want to use the full-frame silent plate). (No one had bothered to tell me the format until showtime, unfortunately.)

Unfortunately, they will be getting dailies on DVD and not film for this production (it's a fairly low-budget affair), though they might have an occasional roll printed and thus might need a proper super-35 plate at that time.

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Scott Norwood
Film God

Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99


 - posted 06-10-2006 12:04 PM      Profile for Scott Norwood   Author's Homepage   Email Scott Norwood   Send New Private Message       Edit/Delete Post 
For whatever it's worth, I dug up a smaller 1.85 plate (like what Paul had, I guess) where the height worked out perfectly; we've had several more screenings and the DP has been very happy. Thanks for the advice above.

It has been a somewhat interesting experience--they have done film stock tests, bleach-bypass tests, wardrobe tests, filter tests, and exposure tests.

In case anyone cares, this is the film in question. It is expected to be released in about a year.

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Tim Reed
Better Projection Pays

Posts: 5246
From: Northampton, PA
Registered: Sep 1999


 - posted 06-10-2006 12:25 PM      Profile for Tim Reed   Author's Homepage     Send New Private Message       Edit/Delete Post 
You're getting a screen credit, I hope? [Smile]

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Scott Norwood
Film God

Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99


 - posted 06-10-2006 12:58 PM      Profile for Scott Norwood   Author's Homepage   Email Scott Norwood   Send New Private Message       Edit/Delete Post 
No idea. Is there a polite way to ask about this? I've mostly been dealing with a pleasant but overworked PA on the phone and the DP at the screenings.

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Paul Mayer
Oh get out of it Melvin, before it pulls you under!

Posts: 3836
From: Albuquerque, NM
Registered: Feb 2000


 - posted 06-10-2006 02:18 PM      Profile for Paul Mayer   Author's Homepage   Email Paul Mayer   Send New Private Message       Edit/Delete Post 
On the deal memo I signed at the beginning of the shoot, they asked how you wanted your name to appear in the credits, assuming the producer approved. In the end it was the producer that decided. Guess she liked me. [Smile]

BTW Scott, if they're only looking at a few things in 35mm, how are they doing that? Portable double-system 35mm package set up somewhere? Using a local screen that can be set up for such things?

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Frank Angel
Film God

Posts: 5305
From: Brooklyn NY USA
Registered: Dec 1999


 - posted 06-10-2006 02:51 PM      Profile for Frank Angel   Author's Homepage   Email Frank Angel   Send New Private Message       Edit/Delete Post 
Scott, don't be shy. I've seen many a credit crawl that gives such a credit, as in Dailies Projection: Scott Norwood. Just ask the PA if they give screen credit for the dailies projectionist. Nowadays they certainly aren't stingy about the credit crawl....everyone and his brother gets credit. Surely it's not out of place to expect that the dailies projectionist should get a listing. But do ask; some productions are super organized, some are not. I just did narration on a small project and when I handed the producer a card with my name and said, this is the correct spelling for the screen credit, there was this look for a fraction of a second that told me she hadn't even thought about it, but of course she quickly recovered and said fine and that she was just about to ask me. On the other hand, when I did audio for an HBO production, I didn't have to ask. Professionals who know what they are doing know that screen credits are super important.

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Scott Norwood
Film God

Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99


 - posted 06-10-2006 03:15 PM      Profile for Scott Norwood   Author's Homepage   Email Scott Norwood   Send New Private Message       Edit/Delete Post 
It's a regular theatre, although one that does not show film on a regular basis and which is available for rental. We have done a double-system screening there before (for a completed film, with a rental dubber setup from CTS in New York...Brad has pictures of this and needs to post them), but everything that I have shown to date for this film has been MOS.

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Phil Hill
I love my cootie bug

Posts: 7595
From: Hollywood, CA USA
Registered: Mar 2000


 - posted 06-10-2006 03:16 PM      Profile for Phil Hill   Email Phil Hill       Edit/Delete Post 
Scott, I've found the best way to insure screen credit is hold the negatives hostage as in the film "Hijacking Hollywood" [Cool]

Speaking of screen credits... I should point out Tim's contribution and screen credit in the excellent documentary "Drive-in Movie Memories" [beer] [thumbsup]

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