This document discusses the growing trend of 2-perf and 3-perf film shooting formats. It notes that these formats use less film stock than standard 4-perf by utilizing the full film frame. The document outlines the technical specifications of 2-perf and 3-perf frames compared to Super 16 and 35mm. It provides an example of the French film "Persecution" which was shot on 2-perf ARRI cameras using Kodak Vision3 500T stock. Labs and post-production houses now have the digital tools to handle 2-perf and 3-perf workflows.

1. 2-Perf and 3-Perf Shooting
A "new" Format Trend
§ Thierry Perronnet
§ EAMER MARKETING DIRECTOR
§ (Tperronnet@gmail.com)
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2. 2-Perf ?
" Already used in the past
• "Techniscope" by Technicolor
Rome
• Shooting with spherical lenses
• Optical Intermediate step to
the anamorphic image
• Returned in 1999
as "Multivision 235"
• And today just "2-Perf"
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3. Why 2-Perf / 3-Perf / 4-Perf ?
1,85 / 4Perf 1,85 / 3Perf 2,39 / 2Perf
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4. Why 2-Perf / 3-Perf / 4-Perf ?
" 35 mm Motion Picture
• 4-perf is the worldwide Standard for
Projection
• Widescreen Shots don't need the
full 4-Perf frame ( unexposed areas
between the frames)
• 2-Perf/3-Perf is using the available
frame more effective ( saving $$ )
• longer running times / less mag changes
• In the past an optical step was essential
to convert 2+3Perf to the 4-Perf standard
• Digital Post Production (DI) can handle all
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5. § Make your images immortal
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6. 2-Perf Cameras
" Aatons Penelope is designed for that purpose
" Worldwide Increase of 2Perf/3Perf Movements
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7. 2-Perf Workflow
" Labs & Posthouses have to be prepared
• Scanning / Telecine movement ( software based )
• Editing / Keykode
" Format is taking off / effordable format for low/mid budget
" Worldwide growing Availibility on Cameras / Movements
" >100 projects in Europe in 2009
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8. Technical Specifications
" Super16 / 1:1,78 ( As Comparison only ! )
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9. Technical Specifications
" 2 Perf Frame / 1:1,78
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2
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10. Technical Specifications
" 3 Perf Frame / 1:1,78
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2
3
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11. Technical Specifications
" Frame Size Comparison 1:1,78
11,95 mm x 6,72 mm 16,10 mm x 9,10 mm 24 mm x 13,4 mm (S35)
80,3 mm² 146,51 mm² 321,60 mm²
x 1,8 x 2,2
S16 35 mm 2Perf § 35 mm 3Perf
x 4,0
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12. Director of Photography
" JAMES CHRESSANTHIS, ASC
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13. Shooting Location
" … on Set of the "Desperate Housewives"
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14. Screenshots
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15. Side by Side Shooting
Camera crew with side by side Panavision cameras
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16. Roll 3
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17. 2-Perf Sample "Persecution"
KODAK VISION3 500T
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18. "Persecution"
" French Feature Film Production
• Azor Films, Move Movie, Black Forest Films
• arte France Cinéma, Canal+
• Centre National de la Cinématographie
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19. "Persecution"
" Director : Patrice Chereau
" Director Of Photography :
Yves Capes
" Lab & Post @ ECLAIR
• Production Manager : Didier Dekeyser
• Color Grader DI : I. Julien & M. Lepoutre
" Workflow
• 2K Scan / ARRIScan
• DI Master / Color Grading Colorus
• 2K Recording / Arri Laser
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20. "Persecution"
" Shot on ARRI Cameras with 2-Perf Movement
" Aspect Ratio 1:2,39 / no anamorphic lenses !
" extract of an original scene ( Indoor / Outdoor )
" Shot entirely on
KODAK Vision3 500T / 5219
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21. Roll 4
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