Super 35
It's pity the did not opt for the anamorphic Panavision look, like in the first movie.
shareYou can still shoot S35 with an anamorphic lens which gives it even greater resolution.
shareSuper 35 can't really work with anamorphic lenses because Super 35 uses the full frame of the film-including where the soundtrack usually goes and anamorphic lenses with that will resemble Cinerama at 2.66:1 and to get the 2.35/2.40 ratio, it will have to be cropped, throwing away resolution.
Now, Super 35 with standard lenses will give the great resolution you're talking about because they're lighter and faster in terms of lower light and it's even better since film stocks today are much fine tuned then the ones of the past.
Others still use anamorphic due to its specific look and adds a certain scale depending on the project or filmmaker.
I think Zwick and crew prefer Super 35 over anamorphic for their projects.
There's anamorphic lenses available that give you a different magnification depending on your original full frame aspect ratio, This movie was shot on s35 3-perf which gives you a native 1.78aspect ratio. Therefore they likely used 1.3 magnification anamorphic lenses which results in a 2.32 ratio - which they'd slightly crop to fit the theatrical exhibition 2:35 standard.
shareGood point. I forgot about those 1.3x lenses. But Panavision only makes 2x lenses and the 1.3x lenses are made by Hawk and they don't give those characteristics that make anamorphic so well known.
Unfinished Business and Red 2 were shot in the way you've described but those lenses are mostly used on digitally shot movies.
Plus, anamorphic lenses these days are difficult to get these days and require a long wait to get them which is probably why many are shooting Super 35.