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Post subject: Re: Why are so many scope films cropped to around 2.0:1? Posted: 31 Jan 2024, 18:12 |
Site Admin |
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Joined: 07 Aug 2002, 23:37 Posts: 4541 Location: Tokyo Has thanked: 292 times Been thanked: 1138 times
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takeshi666 wrote: Was Vittorio Storato involved with any of them? Not for these post-production matting targeted for home video. His Univisium 2:1 came later for mainstream productions, starting from 1998. Most likely they didn't like how wide the letterboxed black bars were and did some zooming/matting to "fill up more of the screen" to please studio executives? Of course keeping opening and closing credits properly framed so that no ones' name would get cut. Julien
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substance
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Post subject: Re: Why are so many scope films cropped to around 2.0:1? Posted: 31 Jan 2024, 23:03 |
Young Padawan |
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Joined: 16 May 2009, 18:05 Posts: 3569 Location: California, USA Has thanked: 26 times Been thanked: 314 times
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takeshi666 wrote: Was Vittorio Storato involved with any of them? I was thinking him too. I think these uncommon aspect ratios were a European thing. At one point 1.66:1 was advocated in Europe. Paul Verhoeven’s Robocop was framed 1.66:1 in some European cinemas. Criterion later chose that aspect ratio too as the director approved version. I think 1.66:1 was chosen because it was a good compromise between the back then common 4:3 TV aspect ratio and the 16:9 widescreen for cinemas. Hence 2.0:1 is a good compromise between the now common 16:9 TV aspect ratio and 2.35:1 scope ratio. After watching a couple of films in IMAX ratio, I believe the very widescreen is overrated. At typical screen distances, I don’t believe the human vision is that wide spread. I can see on some special occasions like in the Lawrence of Arabia when filming the very flat desert, a super wide aspect ratio could be very immersive but in general 1.66:1 to 2.00:1 is more adequate.
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admin
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Post subject: Re: Why are so many scope films cropped to around 2.0:1? Posted: 01 Feb 2024, 03:12 |
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Joined: 07 Aug 2002, 23:37 Posts: 4541 Location: Tokyo Has thanked: 292 times Been thanked: 1138 times
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substance wrote: I can see on some special occasions like in the Lawrence of Arabia when filming the very flat desert, a super wide aspect ratio could be very immersive but in general 1.66:1 to 2.00:1 is more adequate. That's also how NHK came up with their 5:3 ratio, based on human eyes/vision angle, in the 70's. I don't think 2.35~2.55:1 was required but it boosted tickets sales with their panoramic screens, triple-synced projectors (Cinerama, Kinopanorama), 70mm reels (Super Technirama, Super Panavision, Ultra Panavision) to bring an experience that felt different from TV sets. Then the whole home video frenzy started and VHS changed the game, people didn't want to "waste" screen space with black bars, so we zoomed, cropped, panned, pleased the customers. Super 35 was born from this era. Julien
_________________ HARDWARE DATABASE HLD-X0/9 LD-S9 OPPO 105/205 SL-1200G LDD-1 MSC-4000 R2144 PONTUS II C45 MC257
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substance
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Post subject: Re: Why are so many scope films cropped to around 2.0:1? Posted: 01 Feb 2024, 03:49 |
Young Padawan |
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Joined: 16 May 2009, 18:05 Posts: 3569 Location: California, USA Has thanked: 26 times Been thanked: 314 times
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admin wrote: I don't think 2.35~2.55:1 was required but it boosted tickets sales with their panoramic screens, triple-synced projectors (Cinerama, Kinopanorama), 70mm reels (Super Technirama, Super Panavision, Ultra Panavision) to bring an experience that felt different from TV sets.
Julien
A French man did this first. Abel Gance’s Napoleon had its ending projected onto 3 different screens.
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