From: Douglas Mclaren (email suppressed)
Date: Wed Jun 17 2009 - 12:50:56 PDT
A little late to the game here, I see, but I'll still chime in.
First off, where are you hoping to exhibit your film? That would best
determine what kind of speeds/ratios you can expect a venue to have.
While what folks have been saying about most theatres only having
"scope" (generally 2.35:1 aspect ratio or thereabouts) or
"flat" (1.85:1) ratios is true, it is really only true for
multiplexes. If you're deciding to screen at a general art house or
cinematheque, its a safe bet they have a 1.37:1 aspect ratio they can
project for you. If it's the kind of place that most likely
exhibit(ed) documentaries, you're in luck.
Generally, most theatres can't play speeds other than 24fps. So they
wouldn't have a silent ratio (1.33:1) option. BUT, as has been
suggested, you could use a scope plate with the 1.37 lens for a
relatively proper image. Then its just a matter of moving the masking
on the screen, which is a varying degree of difficulty depending on
the venue.
Really don't see much of a need to convert to video, unless you're
planning on this work being shown at multiplexes across the nation...
cheers,
-Doug
Douglas Mclaren
Projection Manager
Music Box Theatre
Chicago, IL
(o) 773-871-6607
(c) 607-329-2428
(e) email suppressed
On Jun 16, 2009, at 11:44 AM, Myron Ort wrote:
> I forgot to ask earlier, but do any of these 35mm projectors have a
> "silent speed" option? Is "silent speed" a normal option on 35mm
> movie projectors?
>
> Myron Ort
>
>
> On Jun 16, 2009, at 7:29 AM, mat fleming wrote:
>
>> I still feel for an artist film 1.33 / 1.37 35mm (however you want
>> to call it) is the way to go if you can afford it.
>> As a projectionist I am more likely to get video aspect wrong than
>> film. because there are way more variables - the tape/disk/file
>> format, how the player ouputs it (sometimes different depending on
>> what kind of cable the machine's using), what the projector does
>> with it, the machines crop differently to variable "TV safe" areas
>> too. Plus if i have a stack of shorts it can be difficult to change
>> in between peices where the clumsy zoom has to operated by eye with
>> the clumsy remote etc. These factors sometimes force me into an
>> reluctant compromise.
>> I haven't even gone into colour/contrast etc issues.
>> With enough notice I will do everything I can for a film. And there
>> is no uncertainty for me about whether i've got it right or wrong.
>>
>> Mat
>>
>> On Tue, Jun 16, 2009 at 1:42 PM, Freya <email suppressed> wrote:
>> The only formats you can assume will be supported in cinemas are
>> scope and 1.185. Some more art house cinemas might be able to do
>> Academy standard too but it is much more rare. Theres a move at the
>> moment to replace 1:1.185 with 16:9 like modern tvs but it remains
>> to be seen what will happen.
>>
>> > 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.)
>>
>> It shouldn't be a big problem as it is basically Super35 in 4perf.
>> Theres lots of telecine out there to do this (and I would assume
>> full scans too). You just need to find places that can handle S35.
>> They may not be keen on putting your painted film near their
>> expensive equipment tho!
>>
>> The other option might be to get it optically printed to a
>> pillarboxed 1.185 print but this would be VERY expensive.
>>
>> love
>>
>> Freya
>>
>>
>>
>>
>>
>> __________________________________________________________________
>> 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>.