CHE. Aspect ratio

[K.Borgli]

The movie "CHE" is shot on red, and has an aspect ratio of 2.35:1, but RED doesn't support this, right? Have they just added black bars?

 

[Dan Hudgins]

#1 vs. #2

#1 vs. #2

The movie "CHE" is shot on red, and has an aspect ratio of 2.35:1, but RED doesn't support this, right? Have they just added black bars?

CHE #1 as I understand it was shot Anamorphic using the center part of the sensor, the sides cropped off, then output as a 2:1 squeeze print on a cinevator.

The REDONE sensor is not tall enough to shoot CinemaScope using the full image size, so what you get is like an optical blowup of the center of the frame, so the lenses are more tele than when used on a scope gate 35mm movie camera.

CHE #2 was shot with non-anamorphic lenses and printed on fuji print stock, CHE #1 was printed on Kodak print stock.

From what was said in other posts the DI was 2K and the prints are so called 2K (check to see if cinevator is 1828 wide? some film recorders that say they are 2K use overscan for full silent width, so the sound prints are about 1828 pixels of image width).

I assume that for positive prints on the cinevator it adds black frame lines above and below the image area. i.e. 16:9, 2:1, or Scope image areas?

 

[Eric Maran]

Red supports 2.35:1 as much as 35mm does. With Super-35mm, you're cropping your frame and printing anamorphically. Or you shoot anamorphically for 2.40:1 and "unsqueeze" (not sure if this is the proper term for photographic anamorphic or just for post anamorphic).

Either way, Red loves widescreen as much as any other shooting format does.

"Knowing" was shot 2:1 (using 2.35/2.40 guides) and cropped, then printed anamorphically to 35mm for projection (which is kinda like shooting 3-perf 35mm).

 

[Deanan]

CHE #1 as I understand it was shot Anamorphic using the center part of the sensor, the sides cropped off, then output as a 2:1 squeeze print on a cinevator.

The REDONE sensor is not tall enough to shoot CinemaScope using the full image size, so what you get is like an optical blowup of the center of the frame, so the lenses are more tele than when used on a scope gate 35mm movie camera.

CHE #2 was shot with non-anamorphic lenses and printed on fuji print stock, CHE #1 was printed on Kodak print stock.

From what was said in other posts the DI was 2K and the prints are so called 2K (check to see if cinevator is 1828 wide? some film recorders that say they are 2K use overscan for full silent width, so the sound prints are about 1828 pixels of image width).

I assume that for positive prints on the cinevator it adds black frame lines above and below the image area. i.e. 16:9, 2:1, or Scope image areas?

Part 2 (Guerilla) was Cinevator.

 

[Jase]

Either way, Red loves widescreen as much as any other shooting format does.

Yes but you're not getting nearly as much resolution as you would with 35mm. Shooting on RED with Anamorphic lenses would definitely be the best way to go if blown up to a large screen. It would be even more critical to do this if you're shooting RED over 35mm since film will have double the resolution.