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RE: Two perf 35

	>They feel that they could realize a
	>feature production with 35mm performance on a 16mm budget.

2-perf gives you a 2.35:1 ratio image without the anamorphic squeeze -
similar to super 35. But, unlike super 35, if you want a 4x3 or even a 16x9
video transfer, there's no image top and bottom to to expand the frame into,
so it's a severe crop, just like a Cinemascope image.  
And of course it's only half the image area on the negative compared with

True, it's bigger than 16mm, at comparable stock and processing costs.  But
it we're down to this level of production budget, don't forget that set-up
time, camera rental, etc are dearer in 35mm, no matter how few perfs, than
in 16mm. It's not simply a 16mm budget. Stock+processing is the ONLY saving.

Lab-wise, front end is simple: processing is the same, dailies printing is
the same, and some (not all) telecines have a 2 perf transport option. For a
video finish that's all there is to worry about. For a totally non-linear
edit, there's just the little matter of negative matching. Can your software
deal with two-perf framecounts? (If so, can it deal accurately with all the
other little film tricks that are sent to try the film cutting community,
such as reverse edge numbers, 2/3 pulldown, etc?).  For a sprocket cut or a
pos conform (cutting the work print to match the edl before taking the
scissors to the negative), I'm not aware of any 2-perf Moviolas or
Steenbecks around, and 2-perf projectors are probably rare these days. 

Normally you'd blow-up to a 4-perf Cinemascope negative in the duplicating
orcess, like super 35. Again, like super 35, you won't be able to see a
composite answer print from your original negative.

Have a look in the cml archives at http://www.cinematography.net/ for more
opinions on this.

  Dominic Case
  Atlab Australia
  email:  cased at atlab.com.au

quick NAB telecine product focus at

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