Anamorphic

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http://jkor.com/peter/super35compare.html

Comparing Super 35 to 35mm Anamorphic Production

Anamorphic technology has come a long way since 2th Century !o" introducedCinemascope to the world in #$53. %hen properly presented on a large screen& the e"trawide'screen& anamorphic (ormat can unleash a power and a (ascination that is di((icult to

e"plain in words.

)here are two ways to get anamorphic prints (or theatrical release. *ne method staysanamorphic all the way through the process& just like the original +Cinemascope+. Andthe other process starts as a normal spherical or +(lat+ image& and is con,erted toanamorphic -or +sueeed+ image0 later. )his other process is known as Super 35.

Super 35 makes things easier at the shooting stage& so 1.P.s tend to lo,e this (ormat. utproducers should realie that the e,entual con,ersion (rom the Super 35mm negati,e tomake the (inal (ilm prints is ,ery e"pensi,e. 4t always adds a signi(icant amount to theo,erall udget ..... something in the order o( 6S78& to 6S7$& appro"imately.

)he price depends on where you get the (inal con,ersion done -i.e. which la0& and on the(inal running length o( the mo,ie. )his step is necessary to get normal theatrical releaseprints (or distriution and e"hiition on (ilm -......unless the production is just releasingon ,ideo tape& or it is (or tele,ision roadcast only0.

%hat happens is that an optical print needs to e made o( your entire mo,ie. 6sing anoptical printer& the la takes the Super 35mm image (rame y (rame& lows it up a littleit& and then sueees it anamorphically to make the (inal printing master -also similar toan 4nter Positi,e 94P or 4nter ;egati,e 94;& ut optically deri,ed0 . So it is just like agiant& or super long optical. And as we know& opticals are e"pensi,e ..... especially igones like this i.e. it costs the appro"imately 6S78& to 6S7$& mentioned ao,e.

A(ter this step& the (inal (ilm prints look e"actly the same as i( they were shot in the trueanamorphic (ormat in the (irst place. So (or projection in the cinema& e,erything is thesame again. 4t is just that the path to get there is di((erent. )here are two main ways to getanamorphic prints ....... -#0 shooting with anamorphic lenses& or -20 con,erting (rom a+(lat+ or spherical Super 35mm original negati,e. As 4 will e"plain in more detail elow&oth systems ha,e their ad,antages and disad,antages.
http://jkor.com/peter/super35compare.htmlhttp://jkor.com/peter/super35compare.html


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As a matter o( interest& it is the same prolem with A


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-=0


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really an issue. ut (or medium to lower udget (ilms& 4 think this e"tra money is etterspent elsewhere. 4 think it is etter to in,est it in impro,ing the o,erall +production ,alue+or +look+ o( the mo,ie. ?y (eeling is that it is etter to in,est this e"tra large sla o(money in impro,ing o,erall +production ,alue+ o( the mo,ie i.e. y redirecting the e"tra6S78& to 6S7$& appro"imately. 4t is etter to get it up there on the screen i(

possile.

4( you do end up choosing the true anamorphic process& here is a little more detail aoutpractical production issues. ut (irst& let me assure you that (or most steps in the o,erallproduction process& anamorphic production is ,ery similar to normal 35mm production&oth on the set& and also in post production. ut i( considering true anamorphic

production& then here are some additional points to take into consideration:

-#0 Bental o( anamorphic lenses usually cost a little more compared to normal lenses -utthis relati,ely small di((erence may e asored in a discounted camera/lens package'deal perhaps0.

-20 A special de'sueeing ,iew(inder is reuired& and this is an additional item to rentwith the camera package.

-30 A larger camera gate is reuired. )his is not normally a prolem with newer cameras&ut it can e a di((iculty (or some older models o( cameras howe,er. )he camera

aperature needs to e #.8mm high " 22mm wide& or larger. )his is eui,alent to .D32inches high " .88 inches wide e.g. Arri(le" !ormat ?ask -or gate0: E5.=23.

-=0 !ocus pulling tends to e a little more critical& and reuires a skilled person.

-50 )he location manager and the production designer must take into consideration thewider (rame -although there is a ig ad,antage in that the sets dont need to e as highcomparati,ely speaking0.

-80 Fou need a projector with an anamorphic projection lens (or screening rushes ordailies. ut most 35mm projectors ha,e this type o( lens as standard euipment.

-D0 )he telecine must e anamorphic'capale (or making ,ideo copies& which will e laterdigitie (or loading into a non'linear editing computer like an A,id etc. ut most telecine(acilities should e ale to handle anamorphic without any prolems.

-0 ;egati,e matching& is more critical and precise& ecause o( the ,ery narrow (rame lineetween indi,idual (rames. )his is worth doule checking with local pro(essionals tomake sure this is no prolem (or them.


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-$0 !inal la work is ,irtually identical. )he sound side o( things -i.e. sound negati,e 'digital or analog0 also works just the same.

-#0 )itles need to e shot with an anamorphic lens.

-##0 !inally& (or theatrical release& cinemas need an anamorphic projection lens& ut thishas always een ,ery standard euipment worldwide. 4n (act& it is proaly the mostuni,ersal o( all 35mm projection (ormats& across the entire world.

4n summary& there is not much to worry aout when shooting anamorphic. 4d de(initelycheck aout the negati,e'matching issue& as negati,e matchers in your location may notha,e e"perience with con(orming anamorphic negati,e perhapsG 4d also doule checkwith your la& in case they ha,e any special issues or ad,ise. Also with the telecinecompany to make sure they can make suitale +lettero"ed+ ,ideo copies. ut this is not

normally a prolem (or most (acilities.

!inally& you may e interested to read my compilation called +CinemaScope ' A Concise>istory+4t e"plains where the anamorphic (ormat came (rom& and how it rose toprominence. 4 think you will (ind it interesting reading i( you want to know more aoutthe history& origins and o,erwhelming success o( the anamorphic (ormat -although e(orewarned& it has a lot o( historical and technical detail0.

Anyway& good luck with your preparations (or your wide'screen productionHHHHH

Copyright I Peter Jray -5th !eruary& 220

Peter Jray-near


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TECHNICAL SPECIFICATIONS

FORMATS, FIELDS AND STANDARDSby Mark Woods

SOME ENCOUNTERS WITH SUPER 35 AND OTHER THOUGHTS

4 recently shot a Super 35mm (ilm in urope. 1uring the prep& we shot a (rame leader. -A(rame leader is a shot o( a chart that matches the (rame edge as indicated on the camerasground glass.0 4 rarely do this when 4 shoot in #.5:# or #.88:#& and ne,er (or )@commercials. ?y thought has een that industry standards e"ist& and i( 4 use properlymaintained euipment (rom reputale rental houses& my images should drop into the(rame they way 4 photographed them.


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these terms& you will e correct. !inally& the thing to keep in mind is that the sueee isconstant no matter which (ormat youre talking aout.

H! "#s a 2$ Squ##%# Equal 2.40:1&

All 35mm anamorphic lenses sueee the image 2:#. %hat that means is& i( you lookthrough the cameras optics at your star or starlet& and the image isnt unsueeed& you seean image that has a major astigmatism and looks like something like a ?odigliani

painting. )he scene through the lens appears to e twice as high as it is wide& or thecon,erse& hal( as wide as it is high. %hat the numers on each side o( the colon representis the relationship o( the width to height o( the (rame in the theatre. So the sueee isconstant in the camera and in projection& only the proscenium changes.

W'a()s s su*#+ a,u( Su*#+ 35&

Super 35 is an anamorphic (ormat (ilmed with spherical lenses. )his image is composedside to side on the (ull aperture. )he di((erent ground glasses utilie di((erent parts o( the,ertical area o( the aperture. )ake a moment to look at Clairmont Cameras ground glassdiagram laeled Super 35 Centered on !ull ground glass. )he 2.=:# (ormat is indicated inthe center o( the (ull aperture& which includes the sound track area. )he (inal 2:# sueee(or the theatrical release is accomplished optically (rom the 4P to the dupe negati,e. -Aside note aout this step. ?y (riend Bo >ummel told me (rom his own e"perience that i(the sueee were put on the 4P instead o( (rom the 4P& the uality would e much etter. 4checked this out at !oto'Eem& and they agreed that the uality would proaly e etter&ut they currently dont ha,e printers capale o( per(orming this operation.0 All dupenegs are generated optically (rom the 4P. As you can see& the Super 35 (ormat is actuallyan anamorphic (ormat shot with spherical lenses. y the way& the term +Super+ in (ront o(


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any (ormat indicates that the (ull aperture is eing used -or more in the case o( Super#8mm0. Again& i( you look at ground glass with Super #.5& Super 35& and Super )@ allcentered on (ull -aperture0 you will see how the (ull aperture is utilied. Compare thisground glass to the 2.35 Anamorphic Centered on Academy ground glass. Fou will seethe space le(t (or the sound track. )he optical houses (ield charts are o( little use to us

now& since they only indicate the sie o( the (inal image (or theatrical presentation& notthe (inal position on the (ilm.


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All 12 -#l"s A+#/)( Equal

Part o( what 4 intended to accomplish in this article was to relate di((erent (ormats to a#.33:# (ield chart. 4 (eel this is the most logical +)ala Basa+ since its the most common(ield chart in use. 4ts een standardied (or many years& and each o( the (ormats 4 discusscan e placed somewhere on the chart and e (airly accurate. A #2 (ield (or #.33:# is #2+wide and $+ high. y de(inition& all #2 (ields are #2+ wide -ast/%est0. )he di((erence in(ormats determines the di((erent sie o( the increments in each (ield ;orth/South. !ore"ample& the increment etween an ## (ield and a #2 (ield ast/%est& is .5+. )heincremental di((erence ;orth/South on our #.33:# chart is .3D5+. As you can see on the(ield chart pro,ided y Paci(ic )itles Chris ushman& the (ollowing (ormats #.33:#.88:#& #.D5:# -#.D:#0& and #.5:# can e re(erenced on the same (ield chart. )he simplee"planation (or this is that the (ormats are created with mattes on the projector& or& insome instances& hard mattes in the camera. )his (ield chart shows (ormats that share acommon optical center'and not a common top. All o( this is ased on a #.33:#& or )@aperture. ;ow take a look at the Super 35 Common )op


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line& the ,ertical increments are di((erent (or each (ormat. *( course you can try tocompose a shot (or all (ormats& ut that doesnt really work. 4n postproduction thesituation continues to ecome more in,ol,ed. %hat i( a director o( photography shootsthe negati,e in Super 35 (or an anamorphic releaseG


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%hat i( a production was shot in anamorphic 35mm (or a low up to DmmG Fou wouldthink that e,erything should (it& ut it doesnt since the (ormats dont match e"actly. )heedges o( the original 35mm image are cropped slightly to center the image ,ertically. Asyou can see& when you enter the anamorphic world& things arent what they appear to e&and the edge o( the (rame isnt where you think it is when you low up to Dmm orreduce to 35mm (rom Dmm. )his has een a prolem (or some pictures shot in

anamorphic 35mm and released on Dmm. 4( the director wants to use the whole (rame&side to side& when shooting in anamorphic 35mm& somethings going to e lost on thelow'up. )his happened to Jeorge


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P+"u(/ R#al( a/" Ps( P+"u(/ Cs(s

4 know o( a production that used two supposedly compatile Super 35 ground glasses ontwo di((erent cameras. *ne camera had a ground glass similar to Clairmont Camerasird on a %ire ground glass. )he other camera had a ground glass much like ClairmontsAyss (ormat. )hese two ground glasses appear to e e"actly the same& ut arent totallycompatile. 4( the director o( photography had the ground glass (ormat specs laid out theway theyre presented here& it would e o,ious to him. *ne o( the keys to look (or is the,ertical o((set. *n the Ayss ground glass its .5=& while the o((set (or the ird groundglass is .83. )his doesnt seem like much& ut its aout # (oot on a 8 (oot wide screen.%hile these two ground glasses are (airly close& and it may not make much di((erence ina gi,en shot& you can imagine the prolems youd encounter with ground glassessustantially di((erent. A shot in this picture was composed correctly (or the ground glassit had& ut which one was itG And which ground glass would the postproductionsuper,isor indicate to the optical houses to use. *n this project& the postproductionsuper,isor had to do D5 opticals to reposition the (rames& partially ecause o( the di((erent

ground glasses.

;ow on to a igger prolem& a (riend o( mine (amiliar with Super 35 prolems told meaout a (ilm that had a numer o( cameras set up with a Super 35 common top. *n acouple o( ig action days& cameras were added to the production. 6n(ortunately& thesecameras came with the Super 35 ground glasses all centered on (ull aperture. )here wasno ,ertical o((setH )his o((set is aout = (eet on the same 8 (oot wide screen. Fou canimagine the numer o( opticals necessary to reposition the image and correct this


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mistake. %ho was to lameG )he director o( photography is responsile (or the picture&(ormats& and selection o( ground glasses. %hoe,er prepped the cameras needed to emade aware o( the ground glasses eing used on the production& and the prolems that arecaused i( they dont match& and this is the director o( photographys responsiility.

Su*#+ 35 S(a/"a+"s

4 think you understand now that Super 35 is a non'standard (ormat& and are eginning torealie what that means. As you can see with the ,arious ground glass (ormats Clairmonthas pro,ided& the commonality o( them all is the (ull aperture indicator. 4( a (rame leaderwere shot with the (ull aperture indicated& and the (rame lines o( pre(erence& then allcameras could e checked against this master chart. 4( the lines match& then the (ramesshould also match. )his might e a simple solution (or the multiple camera scenarios& andan assistant prepping other cameras could check the ground glasses in the odies with themaster chart. 4t isnt practical (or each camera to (ilm a (rame leader. esides& who isgoing to compare the images& and how is the optical house going to know which camera

shot which imageG ;oM the camera department needs to standardie itsel( in this non'standard Super 35 en,ironment.

y the way& there may e oth horiontal and ,ertical o((sets to place the optical centero( the lens in the center o( the image area as indicated y the ground glass. %ith this inmind& you can see the need (or production to rent (rom reputale rental houses that areale to o((set the lens ports o( the di((erent cameras in a consistent and precise manner.Also& prolems might arise with su'rentals where only the ground glass is changed andnot the lens ports. %ith oom lenses& this can cause a major headache eyond the o((seto( ooms during the shot. )he lens may not co,er the image area and ,ignette slightly&where you might not see it until dailies. Fou can imagine how that could ruin your day.

S# -/al T'u'(s

%ith all the things to think aout when choosing to (ilm in Super 35& there are alwaysother choices& #.5:#& #.88:#& or anamorphic (or theatrical release. 4n tele,ision& theproducers are making the decisions& sometimes with little ackground or knowledgeaout the potential prolems. Fou might take a moment to look at the Paramount !ormat.4t seems to sol,e many prolems& ut its a prolem itsel( since its another (ormat usingSuper 35. Pana,ision has also responded to directors o( photography and created their,ersion o( common top line. 4n the past& there were some e((orts to standardie this(ormat& ut they collapsed. %ith the changes in 1)@ and possily >1)@ coming& thereis a lot o( scurrying to co,er all (ormat possiilities. )here is e,en a +E+ (rame idea eing(loated now where an image would e shot with a compromise side indicated hal(wayetween #.D:# and #.33:#. )he resulting image would e slightly sueeed (or roadcaston ;)SC )@& and would e slighting e"panded (or >1)@ roadcast. )hat would sol,eour (ormat prolemsH 4m not sure what the actors would say aout eing roadcast in>1)@ e"panded. 4 could see this eing a prolem (or the cast o( B& or the cast o( anyother high pro(ile program.


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ut& its an e"citing time in which we li,e. Shoot in Super 35& make wonder(ul images.Oust e care(ul and consistent in your approach so the images you (ilm make it to thescreen in a smooth and pro(essional manner. e care(ul and know the prolems since youcant rely on S?P)& the las& or e,en the camera manu(acturers (or guidance. %hen youuse a non'standard (ormat& you de(ine the parameters. Oust think through what you want

to accomplish and how to go aout it. 4d hoped that when 4 started this article& 4 would eale to pro,ide an indication on the #.33 !ield Chart (or the di((erent (ormats. !ore"ample& the Common )op


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Background

!igure #. %ithout an anamorphic lens& the a,ailale (ilm area is not used completelyMsome o( the (ilm sur(ace is wasted on the(rame lines.

!igure 2. %ith an anamorphic lens& the picture is optically +sueeed+ in the horiontaldimension to co,er the entire (ilm (rame& resulting in a etter picture uality. %henprojecting the (ilm& the projector must use a complementary lens o( the same anamorphicpower to stretch the image horiontally ack to its original proportions.

Anamorphic widescreen in cinematography was (irst popularied withCinemaScope&which was one o( many widescreen (ormats de,eloped in the #$5s.The Robewas the

(irst (eature (ilm released to use anamorphic photography& premiering in#$53. )he need(or anamorphic widescreen arose due to an incompatiility etween the aspect ratioo( thephotographic (ilm&and that o( the resulting picture. )he modern anamorphic widescreen(ormat has an aspect ratio o( 2.3$ to #& meaning the picture width is 2.3$ times its height.+Academy (ormat+ 35mm (ilm-standard non'anamorphic (ull (rame with sound0 has anaspect ratio o( #.3D to #& which is not as wide -or& con,ersely& is too tall0. 4n con,entionalspherical -+(lat+0 imaging& the picture is recorded on (ilm so that its (ull width (its withinthe (ilm (rame& and sustantial (ilm (rame area is wasted on portions that will e mattedout y the time o( projection& either on the print or in the projector& in order to create awidescreen image in the theater -!igure #0.

)o make (ull use o( the a,ailale (ilm& an anamorphic lensis used during recordingM thislense((ecti,ely stretches the picture ,ertically so that it (ills the a,ailale (ilm area-!igure 20. Since a larger (ilm area is eing used to project the same picture& uality isincreased. -)he (ilm (rame itsel( is also ,ery slightly larger.0 )he distortion introduced inthe picture must e corrected when the (ilm is played ack& so another lens is used duringprojection that returns the picture to its correct proportions.
http://en.wikipedia.org/wiki/Frame_linehttp://en.wikipedia.org/wiki/Frame_linehttp://en.wikipedia.org/wiki/Frame_linehttp://en.wikipedia.org/wiki/CinemaScopehttp://en.wikipedia.org/wiki/The_Robehttp://en.wikipedia.org/wiki/The_Robehttp://en.wikipedia.org/wiki/The_Robehttp://en.wikipedia.org/wiki/1953http://en.wikipedia.org/wiki/Aspect_ratio_(image)http://en.wikipedia.org/wiki/Photographic_filmhttp://en.wikipedia.org/wiki/Academy_formathttp://en.wikipedia.org/wiki/35mm_filmhttp://en.wikipedia.org/wiki/Lenshttp://en.wikipedia.org/wiki/Image:Anamorphic_lens_illustration_with_stretching.jpghttp://en.wikipedia.org/wiki/Image:Anamorphic_lens_illustration_with_stretching.jpghttp://en.wikipedia.org/wiki/Image:Anamorphic_lens_illustration_without_stretching.jpghttp://en.wikipedia.org/wiki/Image:Anamorphic_lens_illustration_without_stretching.jpghttp://en.wikipedia.org/wiki/Frame_linehttp://en.wikipedia.org/wiki/CinemaScopehttp://en.wikipedia.org/wiki/The_Robehttp://en.wikipedia.org/wiki/1953http://en.wikipedia.org/wiki/Aspect_ratio_(image)http://en.wikipedia.org/wiki/Photographic_filmhttp://en.wikipedia.org/wiki/Academy_formathttp://en.wikipedia.org/wiki/35mm_filmhttp://en.wikipedia.org/wiki/Lens


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%hile the anamorphic scope widescreen (ormat is still in use as a camera (ormat& it haseen losing popularity in (a,or o( (lat (ormats& mainly Super 35. 4n Super 35& the (ilm isshot (lat and can then e matted and optically printed as an anamorphic release print.)here can e se,eral reasons (or this:

An anamorphic lens can create arti(acts as descried ao,e. An anamorphic lens is more e"pensi,e than a spherical lens.

ecause the anamorphic scope camera (ormat does not preser,e any o( the image

ao,e and elow the scope (rame& it may not trans(er as well to more narrowaspect ratios such as=:3or #8:$(or (ull screentele,ision.

!ilm grainis less o( a concern ecause o( the a,ailaility o( higher uality (ilm

stocks and digital intermediates.

Anamorphic scope as a printed (ilm (ormat& howe,er& is well estalished as a standard (orwidescreen projection. Begardless o( the camera (ormats used in (ilming& the distriutedprints o( a (ilm with a 2.3$ theatrical aspect ratio will always e in anamorphic

widescreen (ormat. )his is not likely to soon change ecause cinemas around the worlddont need to in,est in special euipment to project this (ormatM all that is reuired is ananamorphic projection lens& which has long een considered standard euipment.

*ther widescreen (ilm (ormats -commonly #.5:# and #.88:#0 are simply cropped in,ertical sie to produce the widescreen e((ect& a techniue known as maskingor hardmatte. )his can occur either during (ilming& where part o( the picture is masked out in thegate& or in the la& which can optically create a matte onto the prints. ither methodproduces a (rame similar to that in !igure #. ?any (ilm prints today ha,e no matte&though the (ilm is (ramed (or the intended aspect ratioM this approach is calledfull frame(ilming. 4n these& the (ilm captures additional in(ormation that is masked out during

projection in the projector gate& known assoft matteprocess. )his approach allows(ilmmakers the (reedom to include the additional picture in a =:3 trans(er o( the (ilm anda,oidpan and scan& though doing so may introduce areas o( the picture that were notintended (or ,iewing& such as microphone ooms or other (ilming accessories that wouldnot ha,e een ,isile in the widescreen (rame. !or this reason& o(ten productions will+protect (or =:3+ y making certain the (rame is clear o( these ojects& e,en though thatpart o( the image will not remain ,isile in the theater.

9edit

2.35, 2.39, or 2.4?

*ne common misconception aout the anamorphic (ormat concerns the actual numer o(the aspect ratio itsel(. Since the anamorphic lenses in ,irtually all 35mm anamorphicsystems pro,ide a 2:# sueee& one would logically conclude that a #.3D (ull academygate would lead to a 2.D= aspect ratio i( used with anamorphic lenses. >owe,er& due to adi((erence in the camera gate aperture and projection mask sies (or anamorphic (ilms&the image dimensions used (or anamorphic (ilm ,ary (rom +(lat+ -spherical0 counterparts.)o complicate matters& the S?P)standards (or the (ormat ha,e ,aried o,er timeM to
http://en.wikipedia.org/wiki/Super_35http://en.wikipedia.org/wiki/4:3http://en.wikipedia.org/wiki/4:3http://en.wikipedia.org/wiki/16:9http://en.wikipedia.org/wiki/16:9http://en.wikipedia.org/wiki/Televisionhttp://en.wikipedia.org/wiki/Televisionhttp://en.wikipedia.org/wiki/Televisionhttp://en.wikipedia.org/wiki/Grainhttp://en.wikipedia.org/wiki/Digital_intermediatehttp://en.wikipedia.org/wiki/Full_framehttp://en.wikipedia.org/wiki/Full_framehttp://en.wikipedia.org/wiki/Pan_and_scanhttp://en.wikipedia.org/w/index.php?title=Anamorphic_widescreen&action=edit&section=2http://en.wikipedia.org/wiki/SMPTEhttp://en.wikipedia.org/wiki/Super_35http://en.wikipedia.org/wiki/4:3http://en.wikipedia.org/wiki/16:9http://en.wikipedia.org/wiki/Televisionhttp://en.wikipedia.org/wiki/Grainhttp://en.wikipedia.org/wiki/Digital_intermediatehttp://en.wikipedia.org/wiki/Full_framehttp://en.wikipedia.org/wiki/Pan_and_scanhttp://en.wikipedia.org/w/index.php?title=Anamorphic_widescreen&action=edit&section=2http://en.wikipedia.org/wiki/SMPTE


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(urther complicate things& pre'#$5D prints took up the optical soundtrack space o( theprint -instead ha,ing magnetic sound on the sides0& which made (or a 2.55 ratio.

)he (irst S?P)de(inition (or anamorphic projection with an optical sound track downthe side -P>22.#8'#$5D0& made in 1ecemer #$5D& standardied the aperture to .3$ in

y .D#5 in. )he aspect ratio (or this aperture& a(ter a 2" unsueee& rounds to 2.35. Anew de(inition was created in *ctoer #$D -P>22.#8'#$D#0 which made the ,erticaldimension slightly smaller in order to make splices less noticeale -as anamorphic printsuse more o( the negati,e (rame area than any other modern (ormat0 when projected. )hisnew aperture sie& .3 in y .D in& makes (or an unsueeed ratio o( 2.3$. )he mostrecent re,ision& (rom August #$$3 -S?P) #$5'#$$30& slightly altered the dimensions soas to standardie a common aperture width -.25 in0 (or all (ormats& anamorphic and(lat. At these modern dimensions -.25 in y .8$ in0& the unsueeed ratio remains at2.3$.

Anamorphic prints are still o(ten called +Scope+ or 2.35 y projectionists&

cinematographers& and others working in the (ield& i( only y (orce o( hait. 2.3$ is in (actwhat they generally are re(erring to -unless discussing (ilms using the process etween#$5 and #$D0& which is itsel( sometimes rounded up to 2.=. %ith the e"ception o(certain specialist and archi,ist areas& generally 2.35 2.3$ 2.= to most pro(essionals&whether they themsel,es are e,en aware o( the changes or not.

9edit

2.35 spheria! "hard #a$$ed%

)o complicate matters e,en (urther...

Some (ilms -including Jeorge


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or decrease wasted lines o( resolution on the lack lettero"ingars. Sources that areclose to #8:$ can e trans(erred to 1@1 taking up the entire #8:$ (rame with no wastedspace. >owe,er& sources that are wider than #8:$& such as #.5:# or 2.3$:# ,ideo& muststill e lettero"ed into the #8:$ (rame with ,arying amounts o( lack ars.

%hen a 1@1 is inserted into a player& the player will do one o( two things depending onthe type o( tele,ision set in use: 4( the 1@1 player is set up to output a widescreen image&the player will signal to the )@ that the ,ideo is anamorphic& and then sends the ,ideo&still horiontally sueeed& to the tele,ision& which will stretch it horiontally to (ill thescreen. )he comination o( this sueee'and'stretch restores the ,ideo ack to its originalwidescreen aspect ratio& minimiing the loss o( uality. 4( the 1@1 player is set up tooutput a lettero"ed picture& the 1@1 player stretches the picture horiontally to restorethe correct aspect ratio& and adds lettero"'style +lack'ars+ e(ore sending the signal tothe display de,ice.

)his techniue is not used on all 1@1 discsM some use the standard lettero"ing

techniue. )hose that do use the anamorphic techniue typically speci(y +anamorphicwidescreen+& +enhanced (or #8"$+& +enhanced (or widescreen tele,isions+ or a similarstatement on the packaging& though there is currently no widely accepted standard (orsuch laeling. 4( a 1@1 claims to e widescreen& ut does not ha,e a lael like one o( thepre,ious& it may use the standard lettero" techniue& resulting in decreased resolution (orwidescreen pictures. Some 1@1 packaging e"plicitly mentions that the lower'ualitylettero" techniue is usedM when ,iewing such a lettero"ed 1@1 on a widescreendisplay& it may e necessary to oom in on the picture in order to utilie the (ull width o(the screen.

9edit

A&a#orphi !e&s e&ha&e#e&$

nhancing 1@1'@ideo y using an anamorphic lensSince the anamorphic widescreen standard (or 1@1 disks includes lettero"ing (oraspect ratios wider than #8:$& the display de,ice will still lose some resolution to thedisplay o( lack ars (or wider (ormats such as 2.35:# (ilms. )his wasted resolution cane eliminated y using a (ront projector in conjunction with an anamorphic lens and a,ideo processor: (irst& the ,ideo processor or scaler -such as an >)PC0 stretches the ,ideoup to the (ull resolution o( the projector& eliminating the wasted resolution ut alsodistorts the image ,ertically. As the distorted image is projected& it passes through an
http://en.wikipedia.org/wiki/Letterboxhttp://en.wikipedia.org/w/index.php?title=Anamorphic_widescreen&action=edit&section=5http://en.wikipedia.org/wiki/HTPChttp://en.wikipedia.org/wiki/Image:DVD-Video_enhancement_using_anamorphic_lens.gifhttp://en.wikipedia.org/wiki/Image:DVD-Video_enhancement_using_anamorphic_lens.gifhttp://en.wikipedia.org/wiki/Letterboxhttp://en.wikipedia.org/w/index.php?title=Anamorphic_widescreen&action=edit&section=5http://en.wikipedia.org/wiki/HTPC


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anamorphic lens which will either shrink the ,ideo ,ertically or e"pand it horiontally&restoring the original aspect ratio in oth cases9#. 1epending on the uality o( the scalerand the lens& the end result is potentially a smoother ,ideo due to increased ,erticalresolution. 4( the anamorphic lens shrinks the image ,ertically& there is an addedad,antage o( increasedrightness&since light output has een condensed. 4n contrast& an

anamorphic lens which stretches the image horiontally will also decrease its rightness.A similar approach can e used to con,ert a =:3 projector into a #8:$ projector92& or a#8:$ projector into a =:3 projector -y rotating an anamorphic lens y $ degrees0.

:3 to 16:9 conversion

Image sizewithout the lens (1

Image size with thehorizontal stretch model(2

Image size with thevertical squeeze model(2

Diagonal Height Width Diagonal Height Width Diagonal Height Width

0 0 0 0 0 0 0 0 0

Native image size?

#0 #8:$ source aspect ratio20 #8:$ source aspect ratioM #.33:# lens stretch/sueee ratioQ0 All units are the same as input units

16:9 to 2.35:1 conversion
http://en.wikipedia.org/wiki/Anamorphic_widescreen#endnote_calculatorhttp://en.wikipedia.org/wiki/Brightnesshttp://en.wikipedia.org/wiki/Anamorphic_widescreen#endnote_calculatorhttp://en.wikipedia.org/wiki/Anamorphic_widescreen#endnote_calculatorhttp://en.wikipedia.org/wiki/Brightnesshttp://en.wikipedia.org/wiki/Anamorphic_widescreen#endnote_calculator


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Image sizewithout the lens (3

Image size with thehorizontal stretch model(4

Image size with thevertical squeeze model(4

Diagonal Height Width Diagonal Height Width Diagonal Height Width

0 0 0 0 0 0 0 0 0

Native image size?

30 2.35:# source aspect ratio=0 2.35:# source aspect ratioM #.33:# lens stretch/sueee ratioQ0 All units are the same as input units

W6*#"a 7u/"#+ 8 Wal#s)s*#+s/al a**#al 7+ "/a(/s

Aspect ratio (image)

From Wikipedia, the free encyclopedia.

Oump to: na,igation&searchFor an article on the aeronauticalterm, seeaspect ratio !ing"# For other uses of

as*#( +a(, please see its disambiguation page#For the band $#A#R# $f a

Re%olution", see $f a Re%olution.

)he aspect ratioo( an imageis its displayed width di,ided y its height -usuallye"pressed as +&:y+0. !or instance& the aspect ratio o( a traditional tele,isionscreen is !"&or #.33:#. >igh de(inition tele,isionuses an aspect o( #$!%& or aout #.D:#. Aspect ratios

o( 2.3$:# -2.35:# prior to S?P) re,ision in #$D0 or #.5:# are (reuently used incinematography&while the aspect ratio o( a sync'sound35 mm (ilm (rame is around#.3D:# -also known as +Academy+ ratio0. Silent (ilms which used the (ull (rame were shotin #.33:#.
http://wikimediafoundation.org/wiki/Personal_Appealhttp://en.wikipedia.org/wiki/Aspect_ratio_(image)#column-one%23column-onehttp://en.wikipedia.org/wiki/Aspect_ratio_(image)#column-one%23column-onehttp://en.wikipedia.org/wiki/Aspect_ratio_(image)#searchInput%23searchInputhttp://en.wikipedia.org/wiki/Aeronauticalhttp://en.wikipedia.org/wiki/Aeronauticalhttp://en.wikipedia.org/wiki/Aspect_ratio_(wing)http://en.wikipedia.org/wiki/Aspect_ratio_(wing)http://en.wikipedia.org/wiki/Aspect_ratiohttp://en.wikipedia.org/wiki/Aspect_ratiohttp://en.wikipedia.org/wiki/Of_a_Revolutionhttp://en.wikipedia.org/wiki/Of_a_Revolutionhttp://en.wikipedia.org/wiki/Imagehttp://en.wikipedia.org/wiki/Televisionhttp://en.wikipedia.org/wiki/High_definition_televisionhttp://en.wikipedia.org/wiki/1970http://en.wikipedia.org/wiki/Cinematographyhttp://en.wikipedia.org/wiki/35_mm_filmhttp://wikimediafoundation.org/wiki/Personal_Appealhttp://en.wikipedia.org/wiki/Aspect_ratio_(image)#column-one%23column-onehttp://en.wikipedia.org/wiki/Aspect_ratio_(image)#searchInput%23searchInputhttp://en.wikipedia.org/wiki/Aeronauticalhttp://en.wikipedia.org/wiki/Aspect_ratio_(wing)http://en.wikipedia.org/wiki/Aspect_ratiohttp://en.wikipedia.org/wiki/Of_a_Revolutionhttp://en.wikipedia.org/wiki/Imagehttp://en.wikipedia.org/wiki/Televisionhttp://en.wikipedia.org/wiki/High_definition_televisionhttp://en.wikipedia.org/wiki/1970http://en.wikipedia.org/wiki/Cinematographyhttp://en.wikipedia.org/wiki/35_mm_film


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Contents

9hide # )he e,olution o( (ilm and )@ aspect ratios

2 Pi"el aspect ratio

3 >istoric and commonly used aspect ratios = *riginal aspect ratio -*AB0

5 Criticism

8 See also

D "ternal links

9edit

The evolution of fil and TV as!ect ratios

Comparison o( three common aspect ratios constrained y the screen diagonal sie -thelack circle0. )he smaller o" -lue0 and middle o" -green0 are common (ormats (orcinematography.)he largest o" -red0 is the (ormat used in standard tele,ision.

)he =:3 ratio (or standard tele,ision has een in use since tele,isions origins and manycomputer monitorsuse the same aspect ratio. Since =:3 is the aspect ratio o( the usale

(rame within the Academy (ormat once the soundtrack had een taken into account& (ilmscould e satis(actorily ,iewed on )@ in the early days o( the medium. %hen cinemaattendance dropped& >ollywood created widescreen aspect ratios to immerse the ,iewerin a more realistic e"perience and& possily& to make roadcast (ilms less enjoyale i(watched on a regular )@ set.

#8:$ is the (ormat o( Oapaneseand American >1)@as well as uropean non'>1widescreen tele,ision-1)@0. ?anydigital ,ideocameras ha,e the capaility to record
http://toggletoc%28%29/http://en.wikipedia.org/wiki/Aspect_ratio_(image)#The_evolution_of_film_and_TV_aspect_ratios%23The_evolution_of_film_and_TV_aspect_ratioshttp://en.wikipedia.org/wiki/Aspect_ratio_(image)#Pixel_aspect_ratio%23Pixel_aspect_ratiohttp://en.wikipedia.org/wiki/Aspect_ratio_(image)#Historic_and_commonly_used_aspect_ratios%23Historic_and_commonly_used_aspect_ratioshttp://en.wikipedia.org/wiki/Aspect_ratio_(image)#Original_aspect_ratio_.28OAR.29%23Original_aspect_ratio_.28OAR.29http://en.wikipedia.org/wiki/Aspect_ratio_(image)#Criticism%23Criticismhttp://en.wikipedia.org/wiki/Aspect_ratio_(image)#See_also%23See_alsohttp://en.wikipedia.org/wiki/Aspect_ratio_(image)#External_links%23External_linkshttp://en.wikipedia.org/w/index.php?title=Aspect_ratio_(image)&action=edit&section=1http://en.wikipedia.org/wiki/Cinematographyhttp://en.wikipedia.org/wiki/Cinematographyhttp://en.wikipedia.org/wiki/Televisionhttp://en.wikipedia.org/wiki/Computer_monitorhttp://en.wikipedia.org/wiki/Movie_theaterhttp://en.wikipedia.org/wiki/Widescreenhttp://en.wikipedia.org/wiki/Japanhttp://en.wikipedia.org/wiki/United_Stateshttp://en.wikipedia.org/wiki/High-definition_televisionhttp://en.wikipedia.org/wiki/Europehttp://en.wikipedia.org/wiki/Televisionhttp://en.wikipedia.org/wiki/EDTVhttp://en.wikipedia.org/wiki/Digital_videohttp://en.wikipedia.org/wiki/Image:WideScreenFormats.jpghttp://en.wikipedia.org/wiki/Image:WideScreenFormats.jpghttp://toggletoc%28%29/http://en.wikipedia.org/wiki/Aspect_ratio_(image)#The_evolution_of_film_and_TV_aspect_ratios%23The_evolution_of_film_and_TV_aspect_ratioshttp://en.wikipedia.org/wiki/Aspect_ratio_(image)#Pixel_aspect_ratio%23Pixel_aspect_ratiohttp://en.wikipedia.org/wiki/Aspect_ratio_(image)#Historic_and_commonly_used_aspect_ratios%23Historic_and_commonly_used_aspect_ratioshttp://en.wikipedia.org/wiki/Aspect_ratio_(image)#Original_aspect_ratio_.28OAR.29%23Original_aspect_ratio_.28OAR.29http://en.wikipedia.org/wiki/Aspect_ratio_(image)#Criticism%23Criticismhttp://en.wikipedia.org/wiki/Aspect_ratio_(image)#See_also%23See_alsohttp://en.wikipedia.org/wiki/Aspect_ratio_(image)#External_links%23External_linkshttp://en.wikipedia.org/w/index.php?title=Aspect_ratio_(image)&action=edit&section=1http://en.wikipedia.org/wiki/Cinematographyhttp://en.wikipedia.org/wiki/Televisionhttp://en.wikipedia.org/wiki/Computer_monitorhttp://en.wikipedia.org/wiki/Movie_theaterhttp://en.wikipedia.org/wiki/Widescreenhttp://en.wikipedia.org/wiki/Japanhttp://en.wikipedia.org/wiki/United_Stateshttp://en.wikipedia.org/wiki/High-definition_televisionhttp://en.wikipedia.org/wiki/Europehttp://en.wikipedia.org/wiki/Televisionhttp://en.wikipedia.org/wiki/EDTVhttp://en.wikipedia.org/wiki/Digital_video


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in #8:$. Anamorphic1@1trans(ers store the in(ormation in #8:$ ,ertically stretched to=:3M i( the )@ can handle an anamorphic image the signal will e de'anamorphosed ythe )@ to #8:$. 4( not& the 1@1 player will unstretch the image and add lettero"inge(ore sending the image to the )@. %ider ratios such as #.5:# and 2.3$:# areaccommodated within the #8:$ 1@1 (rame y adding some additional masking within

the image itsel(.

%ithin the motion picture industry& the con,ention is to assign a ,alue o( # to the imageheight& so that& (or e"ample& an anamorphic (rame is descried as 2.3$:# or just +2.3$+.)his way o( speaking comes aout ecause the width o( a (ilm image is restricted y thepresence o( sprocket holes and a standard intermittent mo,ement inter,al o( =per(orations& as well as an optical soundtrack running down theprojection printetweenthe image and the per(orations on one side. )he most common projection ratios inAmerican theaters are #.5 and 2.3$.

1e,elopment o( ,arious camera systems must there(ore ultimately cater to the placement

o( the (rame in relation to these lateral constraints. !or e"ample& one cle,er widescreenprocess& @ista@ision& used standard 35mm (ilm running sideways through camera gate&so that the sprocket holes were ao,e and elow (rame& resulting in a larger negati,e sieper (rame. >owe,er& the #.5 ratio o( the initial @ista@ision image needed to e croppeddown to #.5 and optically con,erted to a ,ertical print (or projection. )hough the (ormatwas rie(ly re,i,ed y 1)@ is actually narrower than commonly'used cinematicwidescreen(ormats. Anamorphic widescreen -2.3$:#0 and American theatrical standard-#.5:#0 ha,e wider aspect ratios& while the uropean theatrical standard -#.88:#0 is justslightly less. -4?AR& contrary to some popular perception& is #.33:#& the traditionaltele,isionaspect ratio.0

Super #8mm(ilm is (reuently used (or tele,ision production due to its lower cost& lacko( need (or soundtrack space on the (ilm itsel(& and aspect ratio similar to #8:$ -Super#8mm is nati,ely #.88 whilst #8:$ is #.D0.

)wo aspect ratios compared with images using the same hori'ontalsie.
http://en.wikipedia.org/wiki/Anamorphic_widescreenhttp://en.wikipedia.org/wiki/DVDhttp://en.wikipedia.org/wiki/Motion_picture_industryhttp://en.wikipedia.org/w/index.php?title=Projection_print&action=edithttp://en.wikipedia.org/w/index.php?title=Projection_print&action=edithttp://en.wikipedia.org/wiki/VistaVisionhttp://en.wikipedia.org/wiki/Lucasfilmhttp://en.wikipedia.org/wiki/1970shttp://en.wikipedia.org/wiki/IMAXhttp://en.wikipedia.org/wiki/Widescreenhttp://en.wikipedia.org/wiki/Televisionhttp://en.wikipedia.org/wiki/Super_16mmhttp://en.wikipedia.org/wiki/Anamorphic_widescreenhttp://en.wikipedia.org/wiki/DVDhttp://en.wikipedia.org/wiki/Motion_picture_industryhttp://en.wikipedia.org/w/index.php?title=Projection_print&action=edithttp://en.wikipedia.org/wiki/VistaVisionhttp://en.wikipedia.org/wiki/Lucasfilmhttp://en.wikipedia.org/wiki/1970shttp://en.wikipedia.org/wiki/IMAXhttp://en.wikipedia.org/wiki/Widescreenhttp://en.wikipedia.org/wiki/Televisionhttp://en.wikipedia.org/wiki/Super_16mm


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!" (#&""!#)

#$!% (#&'!#)

)wo aspect ratios compared with images using the same %erticalsie.

!" (#&""!#)
http://en.wikipedia.org/wiki/Image:4_3_example.jpghttp://en.wikipedia.org/wiki/Image:4_3_example.jpghttp://en.wikipedia.org/wiki/Image:Columbia_widescreen.jpghttp://en.wikipedia.org/wiki/Image:Columbia_widescreen.jpghttp://en.wikipedia.org/wiki/Image:Columbia_standard.jpghttp://en.wikipedia.org/wiki/Image:Columbia_standard.jpg


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#$!% (#&'!#)

9edit

"i#el as!ect ratio

)he term piel aspect ratio& sometimes shortened to aspect ratio& is also used in theconte"t o( computer graphics to descrie the shape o( an indi,idualpi"elin a digitiedimage. ?ost digital imagingsystems use suare pi"elsthat is& they sample an image atthe same resolution horiontally and ,ertically. ut there are some de,ices that do not-most notaly some common standard'de(inition(ormats in digital tele,ision and1@1'@ideo0 so a digital image scanned at twice the horiontal resolution to its ,erticalresolution might e descried as eing sampled at a 2:# pi"el aspect ratio& regardless o(the sie or shape o( the image as a whole.

9edit

$istoric and coonl% used as!ect ratios

#%: +?o,ietone+ '

early 35 mm sound(ilm ratio used in thelate #$2s and early#$3s& especially inurope. )he optical
http://en.wikipedia.org/w/index.php?title=Aspect_ratio_(image)&action=edit&section=2http://en.wikipedia.org/wiki/Computer_graphicshttp://en.wikipedia.org/wiki/Pixelhttp://en.wikipedia.org/wiki/Imaginghttp://en.wikipedia.org/wiki/Standard-definition_televisionhttp://en.wikipedia.org/wiki/Digital_televisionhttp://en.wikipedia.org/wiki/DVD-Videohttp://en.wikipedia.org/wiki/DVD-Videohttp://en.wikipedia.org/w/index.php?title=Aspect_ratio_(image)&action=edit&section=3http://en.wikipedia.org/wiki/Image:Aspect_ratio.compare6.pnghttp://en.wikipedia.org/wiki/Image:Aspect_ratio_16_9_example.jpghttp://en.wikipedia.org/wiki/Image:Aspect_ratio_16_9_example.jpghttp://en.wikipedia.org/w/index.php?title=Aspect_ratio_(image)&action=edit&section=2http://en.wikipedia.org/wiki/Computer_graphicshttp://en.wikipedia.org/wiki/Pixelhttp://en.wikipedia.org/wiki/Imaginghttp://en.wikipedia.org/wiki/Standard-definition_televisionhttp://en.wikipedia.org/wiki/Digital_televisionhttp://en.wikipedia.org/wiki/DVD-Videohttp://en.wikipedia.org/wiki/DVD-Videohttp://en.wikipedia.org/w/index.php?title=Aspect_ratio_(image)&action=edit&section=3


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soundtrack wasplaced on the side o(the #.33 (rame& thusreducing the width o(the (rame. )he

Academy (rame-#.3D0 (i"ed this ymaking the (ramelines thicker. )heest e"amples o( thisratio are!rit


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per( (rameM (ilms cane shot in3'per(tosa,e cost o( (ilmstock.

*&*,: D mm

standard. *riginallyde,eloped (or )odd'A*in the #$5s.

*&"+: 35 mm

anamorphic prior to#$D& used yCinemaScope-+Scope+0 and earlyPana,ision. )heanamorphic standardhas sutly changed

so that modernanamorphicproductions areactually 2.3$& uto(ten re(erred to as2.35 anyway& due toold con,ention. ;orecent anamorphic(ilms are 2.35. )otethat anamorphicrefers to the print

and not necessarilythe negati%e#" *&"%: 35 mm

anamorphic (rom#$D onwards.Sometimes roundedup as 2.=. Sometimesre(ered to as Scope.

*&+%: Cineramaat

(ull height -threespecially captured 35

mm imagesprojected side'y'side into onecompositewidescreen image0.

*&'$: D mm

anamorphic -6ltraPana,ision0. *nly
http://en.wikipedia.org/wiki/3-perf_and_2-perf_pulldownhttp://en.wikipedia.org/wiki/3-perf_and_2-perf_pulldownhttp://en.wikipedia.org/wiki/Todd-AOhttp://en.wikipedia.org/wiki/Todd-AOhttp://en.wikipedia.org/wiki/1970http://en.wikipedia.org/wiki/Cinemascopehttp://en.wikipedia.org/wiki/Panavisionhttp://en.wikipedia.org/wiki/Cineramahttp://en.wikipedia.org/wiki/3-perf_and_2-perf_pulldownhttp://en.wikipedia.org/wiki/Todd-AOhttp://en.wikipedia.org/wiki/Todd-AOhttp://en.wikipedia.org/wiki/1970http://en.wikipedia.org/wiki/Cinemascopehttp://en.wikipedia.org/wiki/Panavisionhttp://en.wikipedia.org/wiki/Cinerama


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used on a hand(ul o((ilms etween#$58and #$8=&such asen'>ur -#$5$0.

&,,: Poly,ision&

three 35 mm #.33images projectedside y side. *nlyused on AelJances)apol*on-#$2D0.

9edit

&riginal as!ect ratio '&()*

Original Aspect -atio-*AB0 is a home cinematerm (or the aspect ratio or dimensionsin which a (ilmor ,isual production was producedas en,isioned y the people in,ol,edin the creation o( the work. As an e"ample& the (ilm +ladiatorwas released to theaters inthe 2.3$:# aspect ratio. 4t was (ilmed inSuper 35and& in addition to eing presented incinemas and tele,ision in the original aspect ratio o( 2.3$:#& it was also roadcast withoutthe matte its original aspect ratio release had.

9edit

Criticis

?ultiple aspect ratios create additional urdens on consumers and con(usion among )@roadcasters. 4t is not uncommon (or a widescreen program to emed a =:3 commercial.A person owning a =:3 set would see an image with 2 sets o( lack stripes& ,ertical andhoriontal -matcho"ing0. A similar scenario may also occur (or a widescreen set ownerwhen ,iewing #8:$ material emedded in a =:3 (rame. 4t is also not uncommon that theimage is stretched horiontally or ,ertically. )hese arti(acts cant e dismissed asnegligence on the part o( program ,endors. )hey could e a,oided i( the decision aoutwidescreen (ormat standards were taken more seriously. )here is good reason (or )@screen design to aandon arti(acts o( the analog era& and start to mimic computermonitors.

9edithttp://en.wikipedia.org/wiki/AspectTratioTU2imageU2$
http://en.wikipedia.org/wiki/1956http://en.wikipedia.org/wiki/1956http://en.wikipedia.org/wiki/1964http://en.wikipedia.org/wiki/1964http://en.wikipedia.org/wiki/Ben-Hur_(1959_film)http://en.wikipedia.org/w/index.php?title=Polyvision&action=edithttp://en.wikipedia.org/wiki/Abel_Gancehttp://en.wikipedia.org/wiki/Abel_Gancehttp://en.wikipedia.org/wiki/Abel_Gancehttp://en.wikipedia.org/wiki/Napol%C3%A9on_(movie)http://en.wikipedia.org/wiki/1927http://en.wikipedia.org/w/index.php?title=Aspect_ratio_(image)&action=edit&section=4http://en.wikipedia.org/wiki/Home_cinemahttp://en.wikipedia.org/wiki/Filmhttp://en.wikipedia.org/wiki/Gladiator_(2000_film)http://en.wikipedia.org/wiki/Gladiator_(2000_film)http://en.wikipedia.org/wiki/Super_35http://en.wikipedia.org/wiki/Matte_(filmmaking)http://en.wikipedia.org/w/index.php?title=Aspect_ratio_(image)&action=edit&section=5http://en.wikipedia.org/wiki/Letterboxhttp://en.wikipedia.org/w/index.php?title=Aspect_ratio_(image)&action=edit&section=6http://en.wikipedia.org/wiki/Aspect_ratio_(image)http://en.wikipedia.org/wiki/1956http://en.wikipedia.org/wiki/1964http://en.wikipedia.org/wiki/Ben-Hur_(1959_film)http://en.wikipedia.org/w/index.php?title=Polyvision&action=edithttp://en.wikipedia.org/wiki/Abel_Gancehttp://en.wikipedia.org/wiki/Abel_Gancehttp://en.wikipedia.org/wiki/Napol%C3%A9on_(movie)http://en.wikipedia.org/wiki/1927http://en.wikipedia.org/w/index.php?title=Aspect_ratio_(image)&action=edit&section=4http://en.wikipedia.org/wiki/Home_cinemahttp://en.wikipedia.org/wiki/Filmhttp://en.wikipedia.org/wiki/Gladiator_(2000_film)http://en.wikipedia.org/wiki/Super_35http://en.wikipedia.org/wiki/Matte_(filmmaking)http://en.wikipedia.org/w/index.php?title=Aspect_ratio_(image)&action=edit&section=5http://en.wikipedia.org/wiki/Letterboxhttp://en.wikipedia.org/w/index.php?title=Aspect_ratio_(image)&action=edit&section=6http://en.wikipedia.org/wiki/Aspect_ratio_(image)

Documents

Anamorphic