Same film. Different cinematography formats.

1 Name: Anonymous : 2015-09-02 18:37

Many films have been using different cinematography formats if a film requires different styles for two different sequences. Here are some of the examples I've found (keep in mind that this also apply to films that are in color and black-and-white for aesthetic/stylistic reasons):

-(500) Days of Summer (Black-and-white 16mm with 1.20:1 and 1.50:1 aspect ratio for "old film" sequences, color 35mm with 2.40:1 aspect ratio for rest of the film)
-28 Days Later (35mm for final sequence, 8mm for flashback sequences, SD digital for rest of the film)
-2012 (35mm for underwater sequences, digital for rest of the film)
-Ali (Digital for Ali's night training sequences, 35mm for rest of the film)
-Alice in Wonderland (Digital for Wonderland sequences, 35mm for real-world sequences)
-American History X (Black-and-white for flashback sequences, color for rest of the film)
-Antichrist (Black-and-white for Prologue and Epilogue, color for rest of the film)
-Argo (Switches from 8mm, 16mm, 35mm, to digital depending on locations the film is set in)
-Around the World in Eighty Days (1956) (1.33:1 aspect ratio for prologue sequence, 2.20:1 aspect ratio for rest of the film)
-Bad Education (1.85:1 aspect ratio for "storytelling" sequences, 2.40:1 aspect ratio for rest of the film)
-The Blair Witch Project (Black-and-white for 16mm sequences, color for SD digital sequences)
-Blancanieves (Color with 1.85:1 aspect ratio for the opening sequence, black-and-white with 1.34:1 aspect ratio for rest of the film)
-Blue Valentine (16mm for pre-marriage sequence, digital for post-marriage sequence)
-Boogie Nights (16mm for 1970s porno sequences, SD digital for 1980s porno sequences, 35mm for rest of the film)
-Brainstorm (65mm with 2.40:1 aspect ratio for virtual reality sequences, 35mm with 1.67:1 aspect ratio for real world sequences)
-Brother Bear (1.85:1 aspect ratio for "human" sequence, 2.35:1 aspect ratio for "bear" sequence)
-Buffalo '66 ("Stick-like" aspect ratio for photo booth sequences, 1.85:1 aspect ratio for rest of the film)
-Captain America: The First Avenger (Black-and-white for "film" sequences, color for rest of the film)
-Casino Royale (Black-and-white for opening sequence, color for rest of the film)
-Casshern (Black-and-white for flashback sequences, color for rest of the film)
-Clerks 2 (Black-and-white for opening sequence, color for rest of the film)
-Contact (8mm for childhood film scenes, SD digital for TV scenes, 35mm with a significant portion of 65mm for rest of the film)
-Enchanted (1.85:1 aspect ratio for animated sequences, 2.34:1 aspect ratio for live-action sequences)
-Enter the Void (35mm for sequences where Oscar is alive, Oscar is dead 16mm for sequences where )
-Factory Girl (Black-and-white for flashback sequences, color for rest of the film)
-Fallen Angels (Black-and-white for certain sequences, color for rest of the film)
-Forrest Gump (Black-and-white for KKK sequence and Kennedy sequence, color for rest of the film)
-Galaxy Quest (1.37:1 aspect ratio for TV sequence, 1.85:1 aspect ratio for Earth sequence, 2.35:1 aspect ratio for space sequence)
-The Giver (Black-and-white for "ideal world" sequences, color for "real world" sequences)
-The Grand Budapest Hotel (1.33:1, 1.82:1, and 2.30:1 aspect ratio for each periods the film is set in)
-Gravity (Digital for space sequences, 65mm for Earth sequences)
-The Horse Whisperer (1.85:1 aspect ratio for New York sequence, 2.33:1 aspect ratio for Montana sequence)
-The Hunger Games: Catching Fire (IMAX for 48-minutes Arena sequence, 35mm for rest of the film)
-I'm Not There (Black-and-white for Jude Quinn sequences, color for rest of the film)
-In Praise of Love (Black-and-white with 35mm for first half of the film, color with SD digital for second half of the film)
-Iron Man 2 (Digital for few racetrack sequences and an ending sequence, 35mm for rest of the film)
-JFK (Black-and-white for "reconstruction" sequences and color for rest of the film with scenes switching from 8mm, 16mm, 35mm, to SD digital)
-Kill Bill: Vol. 2 (Black-and-white for opening sequence, color for rest of the film with 1.33:1 aspect ratio for "buried-alive" sequence and 2.40:1 aspect ratio for the rest)
-L'Amour fou (16mm for theater company preparation sequences, 35mm for rest of the film)
-Life of Pi (2.35:1 aspect ratio for the flying fish sequence, 1.33:1 for the whale sequence, 1.85:1 for rest of the film)
-Little Buddha (65mm for Buddha flashback sequences, 35mm for rest of the film)
-The Lone Ranger (Digital for night sequences and interior sequences, 35mm for rest of the film)
-The Lovely Bones (Digital for model house sequences and Susie's underwater sequence, 35mm for rest of the film)
-Manderlay (SD digital for God's Point of View, digital for rest of the film)
-Matinee (2.35:1 aspect ratio for "film clip" sequences, 1.85:1 aspect ratio for rest of the film)
-Memento (Black-and-white for "correct chronological order" sequences, color for "reverse chronological order" sequences)
-Men in Black 3 (Digital for one night sequence, 35mm for rest of the film)
-Midnight Cowboy (Black-and-white for dream sequences and flashback sequences, color for rest of the film)
-Mommy (Most of the film in 1.00:1 aspect ratio aside from few sequences in 1.78:1)
-More American Graffiti (1.37:1, 1.85:1, and 2.40:1 aspect ratios for each different storylines with 16mm for 1.37:1 sequences and 35mm for 1.85:1 and 2.40:1 sequences)
-Napoleon (4.00:1 aspect ratio for Triptych sequence, 1.33:1 aspect ratio for rest of the film)
-Natural Born Killers (SD digital for "news" sequences with rest of the film frequently switching from black-and-white to color, from 8mm to 16mm to 35mm)
-The New World (65mm for hyper-reality sequences, 35mm for rest of the film)
-Night at the Museum: Battle of the Smithsonian (Black-and-white for the painting sequence, color for rest of the film)
-Nightcrawler (Digital for nighttime sequences, 35mm for daytime sequences)
-Nymphomaniac - Vol. 1 (Black-and-white for Chapter 4: Delirium, color for rest of the film)
-Oblivion (Black-and-white for flashback sequences, color for rest of the film)
-Oldboy (2013) (16mm for past sequence, 8mm for flashback sequences, 35mm for present sequences)
-Oz the Great and Powerful (Black-and-white with 1.33:1 aspect ratio for opening sequence, color with 2.40:1 aspect ratio for rest of the film)
-Pacific Rim (Black-and-white for a failed Jaeger test sequence, color for rest of the film)
-Paris, Texas (8mm for home video sequences, 35mm for rest of the film)
-Push (16mm for sniff sequences, watch sequences, Nick's hazy vision sequences, wipe sequence, Hong Kong market entrance sequence, opening sequence, panoramic views, final planning sequence, and a final kiss, 35mm for rest of the film)
-The Queen (35mm for Queen Elizabeth II sequences, 16mm for Prime Minister Tony Blair sequences)
-Rolling Thunder (Black-and-white for flashback sequences, color for rest of the film)
-Schindler's List (Color for opening and ending sequences, black-and-white for rest of the film)
-Scott Pilgrim vs. the World (2.35:1 aspect ratio for some sequences for stylistic reasons, 1.85:1 for rest of the film with aspect ratio shrinking and expanding in select sequences)
-Sherlock Holmes: A Game of Shadows (Digital for forest chase sequence and other slow-motion effects, 35mm for rest of the film)
-Shock Corridor (16mm for fantasy sequences, 35mm for rest of the film)
-Shutter Island (65mm for wartime flashback sequences, 35mm for rest of the film with few digital)
-Sinister (8mm for videotape sequences, color for rest of the film)
-Slacker (Black-and-white SD digital for bar sequence, 8mm for ending sequence, 16mm for rest of the film)
-Speed Racer (black-and-white for early days of WRL racing footages, color for rest of the film)
-Spider-Man 3 (Black-and-white for flashback sequences, color for rest of the film)
-Sunshine (65mm for Earth room sequence, 35mm for rest of the film)
-Super 8 (8mm with some 16mm for The Case footages, 35mm with few digital for rest of the film)
-Tabu (35mm for 'Part 1 - Paradise Lost', 16mm for 'Part 2 - Paradise')
-To the Wonder (SD digital for the opening sequence, digital for a cityscape sequence, 35mm for Ben/Olga sequences, 65mm for Ben/Rachel sequences)
-Tom at the Farm (2.40:1 aspect ratio for Tom and Francis tussling sequences, 1.85:1 aspect ratio for rest of the film)
-Transformers: Revenge of the Fallen (IMAX for a forest fight sequences and Devastator sequences, 35mm for rest of the film)
-The Tree of Life (65mm (including IMAX) for evolution/universe creation sequences, 35mm with few digital for rest of the film)
-TRON (65mm for computer world live-actoin sequences, VistaVision 35mm for pure CGI sequences, 65mm and some 35mm for real-world sequences)
-TRON: Legacy (3D for The Grid sequences, 2D for real-world sequences)
-Twilight (Black-and-white for flashback sequences, color for rest of the film)
-We Need to Talk About Kevin (Digital for flashback sequences and "Kevin" sequences, 35mm for rest of the film)
-The Wizard of Oz (Sepiatone black-and-white for Kansas sequences, color for Oz sequences)
-The World's End (16mm for opening sequence, 35mm for rest of the film)
-X-Men: Days of Future Past (8mm with some 16mm for "news footage" sequences, digital for rest of the film)

Not sure yet (clarification/confirmation would be great)
-Jurassic World (Digital for monitor screen sequences, 35mm with a large portion of 65mm for rest of the film)

These films were picked because you could pretty much tell that these films were shot in different styles just by looking at it or doing a very quick research (which is why '2012', where underwater sequences were shot on 35mm, is not on that list).

Anything else?

P.S. Can anyone confirm 'The Lovely Bones' cinematography I mentioned here? Also, if you mind, can you tell me which scenes of 'Captain America: The First Avenger' were shot in digital and which scenes were shot on 35mm?

Yes, I added '2012'. I decided to add this because while it may have been technical reasons to shoot underwater sequences on 35mm, most of the film is still in digital and 35mm sequences are confined to underwater sequences.