American Cinematographer - March 1990 - 10

New Clairmont Super 1.85:

32% more image
area. And the TV Safe Action
is the same height.
The inexpensive way to get
better image quality on the big screen.
Not anamorphic, at any stage.

v

/

V

/

o

o

Easier to

Afoot of rawstock

costs about 33 cents.
With standard 1.85:1,
about 17 cents of that goes
for negative you don't use.

O

o

O

o

CD

CD

1.85 is

/-\

t-\

obviously a good idea,
though. Wide-screen format
without having to shoot
anamorphic. You get to use
spherical lenses, which
are lighter, faster, sharper,
less expensive. You also get
to use the best lenses in
the world, which are Zeiss.

Bigger format,
still spherical
What we've done is to make
the 1.85 format bigger-

bigger than the old 1.85.
We move the optical
axis over, centering it on the
Full Aperture; and we

Above: Fuli
Below:
V

Aperture.
Academy Aperture
V

/

1

almost the full width

available
All

our

on

the film.

lenses

cover

the

CD

CD

CD

worrying about formats."

CD

CD

D

CD

t-\

(-\

Inside the Academy
Aperture: old 1.85 format

Wider
no

of the larger negative

edge-distortion inherent in

becomes, in effect,

a

21mm.

some

none

of the

ultra wide

camera

costs

$125 more per week.

(to the old 1.85 format)
and costs about 50%

wide-angle

lenses interesting. The
Zeiss T214mm "becomes"
T2 12mm. But, of course,

Peanuts. The

the same as before. The
master interpositive
becomes a reduction optical

angle,

This makes the

Does it
cost more?

Developing and dailies cost

distortion

there's

16 %

"That meant I could pay
attention to composing
the image and less to

CD

larger format. And because
area, every lens sees a
wider angle. A 25mm

Super 1.85. "With the TV
cutoff the same height as the
1.85, it really was much
easier to frame," he says.
more

32%

use

compose for TV
Cameraman Richard Bowen
shot the feature Balazar
The Cajun using Clairmont

a

stretchy

angle

optics. It's still a 14mm

design; and it's still a Zeiss.

more.

Internegatives and
prints: the same as before.
Finer

grain

at every

stage
Interpositive and interĀ¬
negative stock are the same
emulsion. Extremely fine



American Cinematographer - March 1990

Table of Contents for the Digital Edition of American Cinematographer - March 1990

American Cinematographer - March 1990 - 1
American Cinematographer - March 1990 - 2
American Cinematographer - March 1990 - 3
American Cinematographer - March 1990 - 4
American Cinematographer - March 1990 - 5
American Cinematographer - March 1990 - 6
American Cinematographer - March 1990 - 7
American Cinematographer - March 1990 - 8
American Cinematographer - March 1990 - 9
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American Cinematographer - March 1990 - 89
American Cinematographer - March 1990 - 90
American Cinematographer - March 1990 - 91
American Cinematographer - March 1990 - 92
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