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Super 35 (originally known as Superscope 235) is a motion picture film format that uses exactly the same film stock as standard 35 mm film, but puts a larger image frame on that stock by using the negative space normally reserved for the optical analog sound track.
Super 35 was revived from a similar Superscope variant known as Superscope 235, which was originally developed by the Tushinsky Brothers (who founded Superscope Inc. in 1954) for RKO in 1954. When cameraman Joe Dunton was preparing to shoot Dance Craze in 1982, he chose to revive the Superscope format by using a full silent-standard gate and slightly optically recentering the lens port (to adjust for the inclusion of the area of the optic soundtrack -the gray track on left side of the illustration). These two characteristics are central to the format. It was adopted by Hollywood starting with Greystoke in 1984, under the format name Super Techniscope. Later, as other camera rental houses and labs started to embrace the format, Super 35 became popular in the mid-1990s, and is now considered a ubiquitous production process, with usage on well over a thousand feature films. It is often the standard production format for television shows, music videos, and commercials. Since none of these require a release print, it is unnecessary to reserve space for an optical soundtrack. James Cameron was an early, consistent, and vocal supporter of the format, first using it for The Abyss, then used it in Terminator 2: Judgment Day, True Lies, and Titanic. It also received much early publicity for making the cockpit shots in Top Gun possible, since it was otherwise impossible to fit 35 mm cameras with large anamorphic lenses into the small free space in the cockpit. Tony Scott also used the Super 35 format in Beverly Hills Cop II, Man on Fire, Domino, Déjà Vu, The Taking of Pelham 123, and Unstoppable. His brother, Ridley Scott, used it in Black Rain, Gladiator, Black Hawk Down, Kingdom of Heaven, Body of Lies, Robin Hood (2010) John Hughes used it in Ferris Bueller's Day Off, Ron Howard used it in Backdraft, Apollo 13, The Missing, Cinderella Man, The Da Vinci Code, Frost/Nixon, Angels & Demons, and The Dilemma, Nicholas Meyer used it in Star Trek VI: The Undiscovered Country, Quentin Tarantino used it in Reservoir Dogs and Kill Bill: Volumes 1 & 2 (although the latter two films used a 3-perf negative pulldown), James Ivory used it in Howards End and The Remains of the Day, Martin Scorsese used it in The Age of Innocence, Casino, Kundun, Gangs of New York, The Aviator, The Departed, and Shutter Island, Bryan Singer used it in The Usual Suspects, Apt Pupil, X2: X-Men United, and Valkyrie, Paul Verhoeven used it in Showgirls, Michael Bay used it in The Rock and Bad Boys II, Roland Emmerich used it in Independence Day (1996), Godzilla (1998), The Patriot (2000), The Day After Tomorrow, and 2012, Paul Thomas Anderson used it in Hard Eight (1996), Wolfgang Petersen used it in Air Force One, Troy, and Poseidon, The Coen Brothers used it in O Brother, Where Art Thou?, No Country for Old Men, A Serious Man, True Grit (2010), Inside Llewyn Davis, and Hail, Caesar!, Steven Spielberg used it in Minority Report, Munich, War Horse, Lincoln, and The Post (film), Sam Raimi used it, primarily, in Spider-Man 2 & 3, and entirely in Drag Me to Hell, Zack Snyder used it in 300, Watchmen, Sucker Punch, and Justice League, and Paul Feig used it in Unaccompanied Minors, Bridesmaids, and The Heat (film) (which used a 3-perf negative pulldown). David Fincher used the format in many of his films including Se7en, The Game, Fight Club, and Panic Room (which used a 3-perf negative pulldown). Franchises that used the Super 35 format include The Matrix, The Fast and the Furious, Harry Potter, Bourne, the first three Pirates of the Caribbean movies, National Treasure, the first two The Chronicles of Narnia movies, and The Twilight Saga.
Super 35 is a production format. Theatres do not receive or project Super 35 prints. Rather, films are shot in a Super 35 format but are then — either through optical blowdown/matting or digital intermediate — converted into one of the standard formats to make release prints. Because of this, often productions also use Super 35's width in conjunction with a 3-perf negative pulldown to save costs on "wasted" frame area shot and accommodate camera magazines that could shoot 33% longer in time with the same length of film.
If using 4-perf, the Super 35 camera aperture is 24.89 mm × 18.66 mm (0.980 in × 0.735 in), compared to the standard Academy 35 mm film size of 21.95 mm × 16.00 mm (0.864 in × 0.630 in) and thus provides 32% more image area than the standard 35-mm format. 4-perf Super 35 is simply the original frame size that was used in 35 mm silent films. That is, it is a return to the way the film stock was used before the frame size was cropped to allow room for a soundtrack.
Super 35 competes with the use of the standard 35 mm format used with an anamorphic lens. In this comparison, advocates of Super 35 claim an advantage in production costs and flexibility; when used to make 2.39:1 theatrical prints, detractors complain of a loss in quality, due to less negative area used and more lab intermediate steps (if done optically).
Super 35 uses standard "spherical" camera lenses, which are faster, smaller, and cheaper to rent — a factor in low-budget production — and provide a wider range of lens choices to the cinematographer. The chief advantage of Super 35 for productions is its adaptability to different release formats. Super 35 negatives can be used to produce high-quality releases in any aspect ratio, as the final frame is extracted and converted from the larger full frame negative. This also means that a full-frame video release can actually use more of the frame than the theatrical release, provided that the extra frame space is "protected for" during filming. Generally the aspect ratio(s) and extraction method (either from a common center or common topline) must be chosen by the director of photography ahead of time, so the correct ground glass can be created to let the camera operator see where the extracted frame is.
Super 35 ratios have included:
- 1.33:1 (4:3 full screen video)
- 1.78:1 (16:9, widescreen video)
- 1.85:1 ("flat" print)
- 2.00:1 Univisium
- 2.20:1 (70mm print)
- 2.39:1 (anamorphic print)
1.66:1 and 1.75:1 have been indicated in some Super 35 frame leader charts, although generally they have not been used for Super 35 productions due to both relative lack of usage since the rise of Super 35 and their greater use of negative frame space by virtue of their increased vertical dimension.
Theoretically, 2.39:1 release prints made from Super 35 should have slightly lower technical quality than films produced directly in the anamorphic format. Because part of the Super 35 image is thrown away when printing to this format, films originated with anamorphic lenses use a larger negative area. Super 35 has continually been popular with television shows, due to the lack of a need for a final release print; with the advent of widescreen television sets, 3-perf Super 35 – with a native 1.78:1 (16:9) ratio – was widely used for widescreen television shows until the advent of digital shooting. 3-perf Super 35 was also used for some time for 2.39:1 feature films, and the digital intermediate process made it more attractive because it allowed the optical processing formerly required to be skipped entirely.