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4:3 (1.33:1) (generally read as Four-Three, Four-by-Three, or Four-to-Three) for standard television for fullscreen aspect ratio 1.33:1 has been in use since the invention of moving picture cameras, and many computer monitors used to employ the same aspect ratio. 4:3 was the aspect ratio used for 35 mm films in the silent era.
A 2.35:1 film still panned and scanned to smaller sizes. At the smallest, 1.33:1 (4:3), nearly half of the original image has been cropped. Pan and scan is a film editing method of adjusting widescreen film images, rendering them compatible for broadcast on 4:3 aspect ratio television screens. [1]
21:9 movies usually refers to 1024:429 ≈ 2.387, the aspect ratio of digital ultrawide cinema formats, which is often rounded up to 2.39:1 or 2.4:1 Ultrawide resolution can also be described by its height, such as "UW 1080" and "1080p ultrawide" both stands for the same 2560×1080 resolution.
Aspect ratio 2.35:1 versus 1.85:1 Open matte is a filming technique that involves matting out the top and bottom of the film frame in the movie projector (known as a soft matte ) for the widescreen theatrical release and then scanning the film without a matte (at Academy ratio ) for a full screen home video release.
As an example, 8:5, 16:10, 1.6:1, 8 ⁄ 5 and 1.6 are all ways of representing the same aspect ratio. In objects of more than two dimensions, such as hyperrectangles , the aspect ratio can still be defined as the ratio of the longest side to the shortest side.
Techniscope's 2.33:1 aspect ratio is easily enlarged to the 2.39:1 widescreen ratio, [2] because it uses half the amount of 35 mm film stock and standard spherical lenses. Thus, Techniscope release prints are made by anamorphosing , enlarging each frame vertically by a factor of two.
When composing for 1.85:1, it is known as Super 1.85, since it was larger than standard 1.85. When composing for 2.39:1, there are two methods most frequently used: common center, which keeps the 2.39 extraction area at the center of the film, and common top, which shifts the 2.39 extraction area upwards on the film so that it shares a common top line with a centered 1.85:1 frame.
All professional cameras are capable of shooting 2.55:1 (special 'Scope aperture plate) or 2.66:1 (standard Full/Silent aperture plate, preferred by many producers and all optical houses), and 2.35:1 or 2.39:1 or 2.40:1 is simply a hard-matted version of the others. A promotional poster advertising The Robe and CinemaScope. The small box in the ...