then optically converted to an anamorphic release print.
RJ: Super 35 is a great format. It’s one of the best choices that you can make today, and the reason its better now is because of digital intermediate printing.
AH: Exactly, which was actually my next question, how digital intermediates have changed film processing in the labs today.
RJ: It changes in this manner; If you’re shooting in widescreen, Super 35, because all of the projectors and houses that are distributing film have to squeeze the image in order to use their lens — which is a little stupid but it’s a money thing – you then have to go through one step further away in film in Super 35 to get it back to a squeezed image. You no longer have to do that with a digital intermediate.
AH: What’s great too is