Paul Thomas Anderson’s Shot ‘The Master’ on 65 MM Film
One of my most highly anticipated films of 2012, The Master, just got more interesting, at least from a technical standpoint. Three Pixar directors (Brad Bird,Andrew Stanton, Lee Unkrich, who are all awesome in their own right) had a twitter discussion about the advantages and disadvantages of 70mmm exhibition and 65 mm shooting. But that’s not all, Andrew Staton confirmed that The Master would be shot on 65mm! The director who is coming out with his first live-action movie, John Carter, tweeted:
“The Master is indeed in 65. They nearly lost a camera shooting in the Bay.”
If you don’t already know, The Master is just one of the movies that I am just dying to see. Paul Thomas Anderson is back at the helm to tell the story about a man who returns from World War II, with a new vision on lift and starts a new faith based organization. Sources say that the movie is loosely based on the creation of Scientology. Phillip Seymour Hoffman plays the leader, while Joaquin Phoenix stars as a drifter taken in by Hoffman’s character who becomes his right-hand man.
As for the 65mm and 75mm, let’s break it down. Movies that are shot on 65mm are actually projected on 70mm (a format used by IMAX screens) Below is an image comparison of the two.
For those that are still confused, here is an explanation from Slashfilm:
The negative film loaded on set is 65mm wide. That would be printed onto 70mm film, to accommodate a soundtrack among other things, and the marketing of the roadshows that typically relied upon such large-format prints used the term 70mm.
The site adds that the film wasn’t specifically shot on IMAX cameras, althought it would be cool if it were shot using that format. “‘Regular’ use of 65mm sees the negative running vertically through the camera, while the IMAX system runs it horizontally through the camera, allowing for a much larger frame size.”
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Categories: Fused Movies, Movie News
