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anamorphic telecine

Hello teleciners

I'm interested in the current state of the art of telecine of anamorphic fil=
I'm writing a book on cinematographers and wanted to include something
about this topic.  I would greatly appreciate the group's input.

Please feel free to answer any, all or none of the following questions,
or maybe add your own.

1. what percentage of your market/country does transfers in letterbox?
(e.g. it seems like 5% in the US and 95% in France)

2. those of you who do pan and scan
what tricks or techniques do you use to try and remain true to the spirit
of the movie?
(I'm guessing it's pretty difficult)

3. how is pan and scan actually done?
do you have cues that are given to you? (e.g. stay on mel gibson/braveheart
for his lines)
or do you do this in collaboration with dp/director? or both?

4. one director told me that he "protects" 1.85 when shooting anamorphic
then blows that part up for telecine
have you had experiences with similar strategies?
(it seems to me like a constraint for wide screen composition)

6.  any others out there who end up zooming more than panning or scanning?

7. is anyone out there telecining anamorphic to 1.78?
how do you feel about it?

8. any other tips or techniques for anamorphic telecine?

Thank you in advance for any replies

And...  Keep up the good work. This is a vibrant and interesting list!

Benjamin Bergery