Quote:
Originally Posted by PeterTHX
So would any Super35 film by that same definition.
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Sure, I mean if you shoot 4-perf Super 35 for 2.35 widescreen then you're not far off of 2-perf Techniscope in terms of how much of the vertical information is being used for that theatrical extraction. ([edit] which I see has been referenced as I typed this.
) It's easier to quantify when you're dealing with hard numbers on digital acquisition, which I guess is part of Signore XDTV's point.
But XDTV, when referencing how much is thrown away from the digital version when shooting flat, it's worth bearing in mind that the VFX and the grading are often completed in 1.78 or 1.89 with the 'open matte' aspect of TV or IMAX in mind. When they did the original 2K grade for The Martian they used 2192x1156 extractions, for example. And just the other night I saw an open matte version of Tron Legacy on TV.
I know that doesn't count for a whole hell of a lot for those who do actually like their movies to be in OAR, but sometimes there is method in the madness of shooting flat. Still prefer anamorphic though, especially when the DPs don't get all dewey-eyed about shooting on 50 year old glass and actually use newer lenses on modern productions.