American Cinematographer - December 2004 - 48

A Darker Side of Fantasy
In

a

particularly

twisted attempt
to get at the
orphans' money,

Olaf schemes to
marry Violet
(Emily Browning,
right), but is

thwarted when
the

ingenious

Klaus

(Liam

Aiken, below)
discovers

a

legal

loophole that
will render the

nuptials null and
void.

sharpest and fullest image possible:
shooting with Panaflex Platinums in
full-aperture 4-perf Super 35mm,
with the plan to later extract and
reduce from the 0.980"x0.735" image
area

to

achieve

a

final 1.85:1 compo¬

while

shooting TV commercials,
working without any need
for prints or soundtrack space makes

because
it

an

ideal choice. "I think you can

really feel the difference in the
increased negative size," says Lubezki,

known as "Super
1.85," would give his original image

who also shot The Cat in the Hat and

increase of about 30 percent

Super 1.85.
During the 1980s, a number of

sition. This process,

area an
over

the

0.825"x0.446"

standard

projection aperture. Like many cine¬
matographers,
Lubezki
has
frequently used Super 35 in this
manner

for increased resolution

The Assassination

filmmakers

ofRichard Nixon in

experimented with
shooting in Super 1.85 for reduction
prints on theatrical films, but the
required optical-printing step

negated any gain of using the larger
negative and resulted in an edgy
image quality that actually enhanced
apparent grain (though it did result
in improved 70mm prints). Today,
however, the advent of the DI has

given this use of Super 35 a new life.
Lubezki's Super 1.85 approach
on Snicket prompted concerns about
optics, because he wondered if the
outer edges and corners of the
format's exposure area - generally
discarded in the standard Super 35
process when the frame is cropped
to 2.40:1
might not seem as sharp
or contrasty as the area covered by
the "best" part of the lens. As he
notes, any such differences would
probably be invisible on even the
largest TV screen, but they might
create a problem on even a medium¬
-

sized theatrical

screen.

and couldn't

"I did many

any loss of
quality," Lubezki maintains. "After
going all the way through the DI,
working at 2K and outputting it to
film, we did comparison tests with
standard
1.85, and everybody
thought Super 1.85 looked slightly
tests

see

better."
Asked

44 December 2004

to

discuss the issue of



American Cinematographer - December 2004

Table of Contents for the Digital Edition of American Cinematographer - December 2004

American Cinematographer - December 2004 - 1
American Cinematographer - December 2004 - 2
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