What format to use for a blow-up?

JoeFowler

JoeFowler

Well-known member
I have been reading Barry's anamorphic guide and have been reading the posts to try to decide (before I shoot!) whether to go squeeze mode or buy an anamorphic adapter. I want to have the film in a position where I could blow-up to 35mm if necessary (festival acceptance, etc.) Is the squeeze good enough? Should I just shoot in 4:3 and tape off the lcd? I would love to shoot the film in 4:3 because it has a raw, doc-style feel even though it's a narrative. What is everyone else doing to get ready for a possible blow-up? Does anyone know if Nancy Schreiber or Phil Parmet used the adapter or did they "chop" in post? I am afraid of the restrictions (no stabilizer, etc) and the cost of the anamorphic, but am also fearful of the lack of quality with "Squeeze." Is it that much of a difference? Thanks everyone for your help, as always.

Joe
 
Nancy Schrieber did not use an anamorphic attachment on "November". They did extensive film out tests prior to shooting and felt the anamorphic was too restrictive vs any quality gain. They bumped the DV up to HD for Sundance. The film out to be done from the HD.

Bill Turner
Century Division
Schneider Optics
 
Bill is correct. I asked her about it at a recent Kodak panel. She said she didn't want to put another lens in front of the fine piece of glass that is the Leica. Barry did demonstrate that using the anamorphic does yield 25% more resolution, but you have to work within its limitations. As far as settings, I use DVFilm's settings for a transfer, but you can still send your film to the festivals after you transfer DV to HD. Just send them a HD master on a hard drive. I know Sundance accepts it plus many others. I'm not sure about Cannes. Windows Media 9 and 10 plus Quicktime Pro and Quicktime 7 (with its H.264 video codec) all can stream a HD file. If resolution is crucial, I would wait for the HVX (4 to 6 months away) instead of buying the anamorphic. True HD, native 16:9 and all the resolution you need. Sell the DVX (ouch, I don't like the way it sounds. Its been my baby for almost 3 years), save some cash, get rid of gear that will not be in the HD workflow (another ouch for my Sony monitor) and GET THAT SCRIPT READY for the release of the HVX. This may be anal, but I postponed one of the shorts (the best one) because I need the variables that the HVX will give me.
 
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