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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.
The picture outside of the yellow box is matted out when the film is shown in widescreen. For 4:3 television and home media versions, a large portion of the picture can be used (inside the red box) with an open matte. Open matte example with a slight shift of the image section upwards. Aspect ratio 2.35:1 versus 1.85:1
The negative is usually 2.66:1 or, in rare cases, 2.55:1 or 2.35:1. The sole purpose of the change to 2.39:1 and, later, to 2.40:1, was to better hide so-called "negative assembly" splices (splices employed in the composited camera negative. This was not a production change, rather it was a recommended projection change.)
The 64:27 aspect ratio of "21:9" is an extension of the existing video aspect ratios 4:3 (SDTV) and 16:9 (HDTV), as it is the third power of 4:3, where 16:9 of traditional HDTV is 4:3 squared. This allows electronic scalers and optical anamorphic lenses to use an easily implementable 4:3 (1. 3 :1) scaling factor.
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.
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.
Techniscope employs standard 35 mm camera films, which are suitable for 2-perf (Techniscope), 3-perf, conventional 4-perf (spherical or CinemaScope), and even 6-perf and 8-perf (VistaVision), as all of those processes listed employ the same negative and intermediate films, and positive print films intended for direct projection (although 2-, 3- and 8-perfs are not distribution formats).
A supply schedule is a table which shows how much one or more firms will be willing to supply at particular prices under the existing circumstances. [1] Some of the more important factors affecting supply are the good's own price, the prices of related goods, production costs, technology, the production function, and expectations of sellers.
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