Posted: Sunday, March 29, 2009 at 5:51 PM
| Comments: 2
| Dario Argento
From what I understand, Techniscope and Cromoscope are only like Super 35mm in that they derive a widescreen image with non-anamorphic lenses. Super 35mm exposes all four perforations and the soundtrack area (so it is not a projection format) but only the middle 2 perforations are optically printed to anamorphic 35mm but video transfers can open the image up to the full frame (OPERA was shot in Super 35mm but with a 1.85:1 hard-matte allowing for matting to scope dimensions for projection but not as much cropping for video).
Techniscope and Cromoscope are 2 perf formats which only expose two perforations also creating a non-anamorphic but wide image. It also allows one to shoot twice as much footage on a single reel (which is likely why a lot of the lower budget Italian productions and a few American productions were shot in that format). It would still have to be optically squeezed for Cinemascope-compatible projection.
BIRD was apparently transferred from the 2-perf negative.
Some time ago, an Australian company was developing new 2-perf and 3-perf cameras and projectors but I can't remember the name offhand.
Posted by: , March 29, 2009 10:24 PM
I suppose what I was (rather clumsily) trying to do was to compare Super35 to Cromoscope solely in the sense that both create a 2.35/2.39:1 image by shooting “flat”. I was aware that there were significant differences between the two, but wasn’t aware of the specifics. Thanks for the information - it’s very insightful.
Posted by: Michael Mackenzie
, April 1, 2009 12:29 AM