Presenters

Johanna GravelleWorldwide Image Capture Marketing DirectorKodak Entertainment Imaging

CJ JohnsonCJ JohnsonProduct Manager, Motion Picture Color Negative FilmKodak Entertainment Imaging  

David HeuringWriter/Moderator

Special Guest

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Roberto recently reteamed with director Marc Forster on the much‐anticipated Machine Gun Preacher releasing in September Schaefer and

Roberto Schaefer, ASC. AIC

Preacher, releasing in September. Schaefer and Forster have previously collaborated on Quantum of Solace, The Kite Runner, Monster’s Ball, Stay, Finding Neverland, and Stranger Than Fiction among others Schaefer’s credits alsoFiction, among others. Schaefer s credits also include Waiting for Guffman, Best in Show, For Your Consideration, and Leaves of Grass. Schaefer’s work on Finding Neverland earned him a 2005 BAFTA nomination for Besthim a 2005 BAFTA nomination for Best Cinematography. In addition to feature films, Schaefer has shot numerous documentaries and hundreds of commercials and music videos around the worldaround the world.

Photo: Douglas Kirkland

Why choose film?QualityQuality

Film “Look” – film sees like the human eye

• Accurate, true‐to‐life colors

• Warm, realistic skin tones

• Highest image capture resolution possible

Why choose film?ArchivalArchival

Demonstrated archival lifetime of 100+ years• Video has seen 80 formats come and go• Video has seen 80 formats come and go

Cost savingsL i t hi fil• Less expensive to archive film

• Digital requires ongoing spending

Forward and backward compatibility• Take advantage of new technologies 

and repurposing opportunities

Why choose film?Format ChoicesFormat Choices

Super 3 f 2 f4 perf 16mm3-perf 2-perf4-perf

Why choose 4‐perf?Capture AreaCapture Area

18.7 mm

24.9 mm

Why choose 4‐perf?Capture AreaCapture Area

Camera gate

Exposed area

Capture areaCapture area

What is 4‐perf?Aspect Ratios CaptureAspect Ratios – Capture

2 352.35 (24.9mm x 11.1mm)Widescreen Theatrical Projection

1.85 (24.9mm x 13.9mm)Standard TheatricalProjection

1.33 (24 9 18 7 )

1.78 (24.9mm x 14.4mm)HDTV

(24.9mm x 18.7mm)Super 35

What is 3‐perf?Capture AreaCapture Area

13.9 mm

24 9 mm24.9 mm

What is 3‐perf?Aspect RatiosAspect Ratios

1.78 (24.0 x 13.5 mm)HDTV

1.85 (24.0 x 13.0 mm)Standard Projection

2.35 (24.0 x 10.25 mm)Widescreen

Why Choose 3‐perf? Workflow ConsiderationsWorkflow Considerations

Film• Same film stock, No special orders

Cameras• Aaton Penelope, ARRI, Panavision, and others

On‐set• Tight frame lines• Clean gate

In‐post• Need to set‐up the telecine or scanner for 3‐perf

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Need to set‐up the telecine or scanner for 3‐perf• No need for grain management

Why Choose 3‐perf? y p

Cost savings• Uses 25% less film than 4‐perf• Requires 25% less processing

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q % p g• Longer run times

Image quality• Little to no difference when compared to 4‐perf• Latest film technology advancements• Same film stocks, no special orders, p

TV• Originally developed for TV• Originally developed for TV• Little cropping to achieve 1.78:1 aspect ratio

What is 2‐perf?Capture AreaCapture Area

9.35 mm

24.9 mm

What is 2‐perf?Aspect RatiosAspect Ratios

2.35 (20.87 x 8.88 mm)Widescreen

1.85 (16.43 x 8.88 mm)Standard Projection

1.78 (15.80 x 8.88 mm)HDTVHDTV

Why choose 2‐perf?Digital Intermediate WidescreenDigital Intermediate – Widescreen

Widescreen• Use spherical lenses with 2‐perfUse spherical lenses with 2 perf

• Negative keeps widescreen aspect ratio

4‐perf Anamorphic Camera Negative

2‐perf  WidescreenCamera Negative

Why choose 2‐perf? Digital Intermediate Anamorphic Blow upDigital Intermediate – Anamorphic Blow‐up

6K/4K/2K

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6K/4K/2Klinear scan

Correction on digital 

files

2:1 squeeze& blow‐up through DI

4‐perf Anamorphic Internegative

2‐perf  WidescreenCamera Negative

4‐perf Anamorphic Print

Why Choose 2‐perf? 

Workflow ConsiderationsWorkflow Considerations

Film• No special stocks required• Possible speed considerations

Cameras• Purpose manufactured ‐ Aaton Penelope• 2‐perf movements available ‐ ARRI Panavision• 2‐perf movements available ‐ ARRI, Panavision

On‐set• Framing due to tight frame lines

In‐post• Need to set up the telecine or scanner for 2 perf

• Clean the gate

• Need to set‐up the telecine or scanner for 2‐perf• Need to prepare for anamorphic projection• Grain management may be desired

Why Choose 2‐perf? y p

C t iCost savings• Half the film volume 50% savings!• Longer takes/fewer mag changes• Half the processingHalf the processing

2‐perf run time

4‐perfrun time

400’ roll 8 min 34 sec  4 min 26 sec

1000’ roll 21 min 26 sec 11 min 06 sec

Image quality• Same film stocks• Latest film technology advancements

Widescreen format• No need for anamorphic lenses

Super 16mmp

What is Super 16mm?Capture AreaCapture Area

Standard 16mm Super 16mm

7.49 mm 7.44 mm

10.26 mm 12.42 mm

What is Super 16mm?Aspect RatiosAspect Ratios

1.66 (12.42 x 7.44 mm)Native Aspect Ratio

1 78 (12 42 x 6 96 mm)1.78 (12.42 x 6.96 mm)HDTV

1.85 (12.42x 6.70 mm)Standard ProjectionStandard Projection

Why Choose Super 16mm?Workflow ConsiderationsWorkflow Considerations

FilmFilm• Lower speed stocks are recommended as the grain is 

less apparent• Single perf film stock

Cameras• ARRI 416, Aaton Xtera, Aaton A‐Minima, others

Single perf film stock

On‐set• Framing differences versus 35mm

In‐post• Need to set‐up the telecine or scanner for S16• Grain management may be desired

Why Choose Super 16mmy p

Image quality• Same quality film stocksq y• Latest advances in film technology

Unique look• Distinct look that no other format offers

Cost savings• S16mm film stock less expensive than 35mm • Longer takes/fewer mag changesg / g g• Less film volume compared to 35mm

Film Format WorkflowsChoicesChoices

DI Based Workflow• 2K DI‐Based Theatrical Release• 4K DI‐Based Theatrical Release4K DI Based Theatrical Release

Telecine / HD Based Workflow• HD Theatrical Release• HD – Theatrical Release• HD or SD – TV Distribution

Traditional Photochemical WorkflowTraditional Photochemical Workflow• Low Cost Theatrical Release

ChoicesQuestions?Questions?