Is Super-35 an anamorphic cop-out? *repost plus*

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: Now that I'm somewhat aware of Super-35's role in most "scope"-ratioed flicks nowadays, I'm wondering if it has truly and effectively replaced standard "anamorphic" squeezing. : I noticed that "Gone In 60 Seconds" was not shot in Super-35 though now that Super-35 is readily available, I'm guessing that this was mostly film-geek style-choice on the part of Dominic Sena. : "Magnolia" was also shot in Super-35 though I've just taken a look at the full-frame and noticed a fair amount of panning. The reason, I would imagine is that when reformatting a Super-35 master, the transfer supervisor often has to make creative choices for the better frame. : In other words, rather than hacking off the side info in, say, a close two-shot, it might better suit the image if this shot is zoomed-in and then one-shot close-ups can be negotiated via ping-pong panning. : To drag this thought on-topic, I have to admit that I like the full-frame "DOGMA" quite a lot. As in the case with a lot of "scope" Super-35 letterbox editions, I feel that the wide version feels over-matted way too often. In the case of "DOGMA," I was aware of this even while screening it theatrically. : Now, I know there are losses. When the nun books out of shooters, she blows right out of the shot. There is some panning in the baptism scene when Rickman advances to the left (stage right; not our right). : I also remember Alferd pointing out that Ming is cut-off in the full-screen (em, I'm not sure which shot he was talking about though). : Now, while I can't stand cropped anamorphic Cinemascope flicks, I'm almost starting to prefer the fuller versions of Super-35 films to they're over-matted widths. : Vincent, I'm sure you must notice when a film is an on-screen "scope" flick is an over-matted Super-35. How do you feel about the trend? : Is Cinemascope really dead now? : Alright, and now for some previously unseen prosage: : Watching "Any Given Sunday," I've noticed that Oliver Stone(r) has begun to move his camera around a bit. : Shit, Stone(r) has his cinematographer shaft-strum that thing, doesn't he? : I'm not a football fanatic (in fact, I hate American football for the same reasons that Stoner seems to embrace it), but I think that the shear cinema here is some compelling shit. : Vincent? Kev? : What do you think of this guy? Stone, that is? : I can't square his worth as a human being (as if that matters in our medium), but I think that he nails his shit down tighter than Paul Tom A. : You guys? : Thoughts? : --tom : At least we delivered the bomb.

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