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Super 16mm Lens for 2.35:1

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    Super 16mm Lens for 2.35:1

    Were shooting on Super 16mm, but we wanted to shoot widescreen in 2.35:1
    How do we accomplish this?

    Do we get an anamorphic lens so its 2.35 or do we just crop it in post?


    *I believe I'm talking about 2.35:1 It could actually be 2.39:1
    I forget which is the standard for widescreen film.

    #2
    The easiest way is to just crop, but that won't give you the anamorphic flares or squished bokeh, if that's what you're looking for.

    Cinema anamorphics are ridiculous on S16, they result in a 3.32:1 aspect ratio so you'd have to massively crop the sides to bring it back to 2.39.
    ..
    The AU-EVA1 Book - The DVX200 Book - The UX180 & UX90 Book - Lighting For Film & TV - Sound For Film & TV

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      #3
      Yeah, but if you want to use anamorphics, then you could shoot regular 16mm, resulting in a 2.66 ratio and then just matte it slightly to 2.39:1. Both Black Swan and The Hurt Locker was done in S16 and then matted to 2.39:1.
      Help support my Lovecraft inspired 80s horror film I'm DPing on 16mm:
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      Gabriel de Bourg Cinematography
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        #4
        Originally posted by Barry_Green View Post
        The easiest way is to just crop, but that won't give you the anamorphic flares or squished bokeh, if that's what you're looking for.
        Cinema anamorphics are ridiculous on S16, they result in a 3.32:1 aspect ratio so you'd have to massively crop the sides to bring it back to 2.39.
        Not necessarily looking for the lens flairs and stuff. There wont be any in our film as its a single room.
        It was just for the letterboxing.

        So, if I want to crop it. Id need to make sure were shooting it right on camera.
        If I'm correct, Super16 has an aspect ration of: 1.67
        How do I determine where is 2.39 on the monitor to add crop marks on the monitor with tape?


        I also have some storyboards.
        They have not been done to any specific aspect ratio. Just drawn.
        I want to put it down in widescreen format of 2.39:1
        I want them to be roughly around 6x3.5" - But that's not the aspect ratio of 2.39
        (I have a notepad and that the size of the paper, and I want it to be similar in size)
        How do I determine what 2.39 is with it being as close as possible to that size?

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          #5
          If you don't need the anamorphic optics, and will likely not be using them, you should shoot super 16mm.

          Regular 16mm can be cropped to 2.39/2.40, but you will be matting out more negative than if you shoot s16mm. Allows you to have a higher resolution image.

          If cinematography wasn't infinite, I'm sure I would have found the end by now.

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            #6
            Originally posted by DDirector View Post
            Not necessarily looking for the lens flairs and stuff. There wont be any in our film as its a single room.
            It was just for the letterboxing.

            So, if I want to crop it. Id need to make sure were shooting it right on camera.
            If I'm correct, Super16 has an aspect ration of: 1.67
            How do I determine where is 2.39 on the monitor to add crop marks on the monitor with tape?


            I also have some storyboards.
            They have not been done to any specific aspect ratio. Just drawn.
            I want to put it down in widescreen format of 2.39:1
            I want them to be roughly around 6x3.5" - But that's not the aspect ratio of 2.39
            (I have a notepad and that the size of the paper, and I want it to be similar in size)
            How do I determine what 2.39 is with it being as close as possible to that size?
            Take your height and multiply it by 2.39 or 2.40 for the width.

            2.40 is just a shortened term for 2.40:1

            So if my vertical dimension for a story board is 1', the width would be 2.4'... So it would be 12inches tall and the width would be 28.8 inches.

            If your story board drawings are 3.5 inches, your width should be 8.4 inches wide.

            If cinematography wasn't infinite, I'm sure I would have found the end by now.

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