While dethincredible was saving senior citizens and wooing amazing babe he also has been reading this thread and getting much enjoyment from it and eating his pop corn
Counsin’s pictures are an excellent case and before he posted them i was thinking to do possibly a huge jpeg where i put examples of the iii major film ratio width differences which are actually shot on v basic forms and how those could end up looking on 3 possible kinds of video displays compared to the original theater screen which would have a while to get cooked. (we were thinking of a jpeg with 45 pics of combinations on it, of which 26 would exist the wrong presentation
(Is no wonder people can be dazed and cornfuzed about which is the right presentation of a motion picture
In the meantime, equally i’ve said earlier, the main reason I think many people prefer “Full Screen iv:3” versions of movies is cus on the 4:three TVs the widescreen versions take to shrink the vertical size of the prototype to brand the wider image fit on the squarish screen so you become a smaller image which goes against Movie theatre’south huge size Virtual Reality experience so even tho information technology may exist compositionally right, it may give a less emotionally satisfying feel for some, and on top of that they also see black bars that give the imitation illusion in some cases and the reality in others (like films transfered with the “matte openned”) that they are covering “something” (And this, being true, as i said in the cases of “open matte” versions, gives weight to the statement, even tho what would be uncovered on the “open up matte” total screen version WAS NOT ever meant to be seen in theaters)
If they had bigger displays, specially wide 16:9 ones or Project, their unsatisfaction would drib and they wouldn’t take any issues with the widescreen version.
The Ten Commandments was shot in VistaVision, whose total photographic camera aperture is one.50 but the film is composed for Standart Widescreen i.85 Project
(The prints even had special Projectionist Cue marks indicating where the 1.85 framing would be, and besides had alternate i.66 and ii.00 markings to indicate where to frame in theaters that had only this size of screens (one.66 being the European Standart Widescreen shape , and 2.00 being an alternating ratio used for some films, particularly SuperScope movies) You tin can see these markings on the specially fabricated for telecine impress used for the Widescreen Laserdisc, I don’t know if they were carried over to the DVD. Since the image exposed in the negative coulda been taller, falling onto the i.fifty VistaVision photographic camera discontinuity surface area, the iv:3 video version could exist a combination of “open matte” and pan browse, cutting around a minimum of 12% of the sides and showing about upward to 23% of that extraneous top and bottom image exposed on the negative. So that would expect kind of acceptable on a four:iii TV (it’s been awhile since ive seen the TV version)
Leonard Maltin’s video guide is good to determine ratios of movies
specifiying the different types of photographic camera formats used for the alternate camera proccesses (similar Cinemascope/70mm/VistaVision, etc) but since almost Standart Widescreen films (1.66-one.85 wide) are shot with the same 35mm Academy ratio cameras or equivalents, at that place’due south no distinction between them and Academy ratio films in the book. Merely looking at the date of product for those, you can assume most films shot after 1955 were composed for widescreen presentation which in the case of animated Disney ways the ones afterwards Lady And The Tramp and this includes the Standart Widescreen films presented in 4:3 in some video versions (mostly showing the “open matte” area) which is ok cus if you want to, you lot tin can usually extract the OAR widescreen version from them or close to it, eliminating the extraneous image exposed on the negative and replicating the Broad involving cinema experience once again.
As many UD members have posted, Academy and Silent films (about films made before 1955 or and so) should exist seen in non widescreen versions and Widescreen films (most films made after 1955 or then) should be watched in widescreen versions if you want to run into what the director intended and created and how they were meant to be seen (and shown) on the Cinema.
Hopefully in a big screen if possible