Film format using the full 35mm frame including soundtrack area for maximum image resolution.
James Cameron used Super 35 for T2 to provide maximum negative area for the then-revolutionary CGI effects of the T-1000 – the large image field allowed precise cropping and seamless compositing work.
Darius Khondji shot Se7en in Super 35 and used the larger negative for a deliberately grainy, desaturated visual language, with targeted cropping to 2.39:1 creating an oppressive sense of confinement.
Wally Pfister combined Super 35 footage with IMAX sequences, demonstrating the format's flexibility when switching between aspect ratios within a single film.
Emmanuel Lubezki used Super 35-sized sensors (Arri Alexa) as the digital equivalent to seamlessly integrate elaborate CGI environments with live-action footage – the format size was critical for the 4K VFX pipeline.
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The Super 35 negative measures exactly 24.89 × 18.67 mm compared to the Academy format's 22.05 × 16.54 mm. The camera omits the recording of an optical soundtrack, making 15% more image area available. The format operates with 3-perf or 4-perf pull-down, with 3-perf saving 25% of film material. Scanning is typically done at 2K or 4K resolution to extract various aspect ratios such as 2.39:1, 1.85:1, or 16:9 through cropping or anamorphic squeezing.
Panavision developed Super 35 in 1982 in response to the limitations of the Academy format and the cost of anamorphic systems. The first feature film in Super 35 was "Greystoke: The Legend of Tarzan" (1984). In the 1990s, the format became established through films like "Terminator 2" (1991) and "Jurassic Park" (1993). With the advent of the Digital Intermediate (DI) from 2000 onwards, Super 35 became the standard for digital post-production workflows.
Christopher Nolan shot the "Dark Knight" trilogy in Super 35, utilizing its flexibility for IMAX blow-ups. The typical workflow involves scanning the negative, digital grading, and outputting in various formats. Advantages: more affordable spherical lenses, greater depth of field, post-production flexibility. Disadvantages: grain structure at extreme magnifications, additional DI effort for theatrical releases with optical sound.
Super 35 differs from anamorphic 35mm through the use of spherical lenses and digital format adaptation instead of optical compression. The similar Super 16 utilizes the same principle with 16mm film. Modern alternatives include digital cameras with Super 35 sensors (ARRI Alexa, RED) measuring 23.76 × 13.37 mm for 16:9. Anamorphic 35mm remains relevant for its characteristic look with lens flares and bokeh, while Super 35 offers maximum post-production flexibility.
Canon is expanding its Cinema EOS portfolio with the C810, a 6K Super 35mm camera featuring a DIGIC X9 processor. The model offers 4K recording at 120fps in RAW quality and boasts an improved Dual Pixel autofocus system that operates down to -7EV. With an RF mount and a price of approximately $12,000, the C810 is aimed at professional productions with mixed camera fleets.
Ich schätze Super 35 für die Objektivauswahl – ich kann günstige sphärische Linsen verwenden statt teurer anamorphotischer Systeme und habe trotzdem die Flexibilität für verschiedene Aspect Ratios. Die größere Schärfentiefe gegenüber anamorphotischem Material gibt mir mehr Kontrolle über den Focus Pull, auch wenn ich bei starken Vergrößerungen auf die Kornstruktur achten muss.
Super 35 gibt mir die Freiheit, erst in der Post über das finale Format zu entscheiden – ich kann aus demselben Negativ sowohl die Kinofassung als auch TV-Versionen extrahieren. Besonders bei Action-Sequenzen profitiere ich von der größeren Schärfentiefe, die weniger Fokus-Probleme bei schnellen Bewegungen verursacht.
Super 35 senkt meine Kamerakosten erheblich – sphärische Objektive kosten 60% weniger als anamorphotische Sets, und ich spare 25% Filmmaterial bei 3-Perf-Aufnahme. Allerdings muss ich die DI-Kosten einkalkulieren, da jede Auslieferungsversion individuell gerendert werden muss, was bei internationalen Distributionsdeals komplex wird.
1. Zu welchem Department gehört „Super 35"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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