“Probably the biggest value we got with the digital intermediate was the ability to selectively frame the film here and there, and shoot Super 35 with confidence that a digital extraction would turn out better than an optical blowup, letting us recompose shots during color-timing if necessary. I really feel the digital intermediate process has eliminated the reason many filmmakers have for staying away from Super 35 - the complexities of the optical blowup. More people are shooting Super 35 now than ever before because this process renders that problem moot.”