![]() ![]() The use of soft matte has resulted in unintended gaffes when such movies are converted to another format with the mattes removed, which happened often with "full screen" DVDs. The Super 35 format (see below) is similar to open matte in that it can produce a very wide AR by using only a portion of the 1.37:1 frame, which results in a grittier look and feel. Hard matte involves masking the frame in camera during the shoot. Alternately, mattes can be added during post-production. Soft matte usually involves filming and delivering the complete 1.37:1 frame with the expectation that the top and bottom will be matted out at the projector to achieve the intended aspect ratio. ![]() Matted aspect ratios have been in use primarily from the early 1950s as a framing device to produce a widescreen effect from a standard 1.37:1 frame. Image taken by yours truly from a 35mm "No Smoking" bumper for Robocop 2. Standard 4-perf 35mm frame from Robocop 2 matted to apprx. In many areas the "2.35:1" moniker has stuck in the same way that "scope" is still used by people in the industry for films made with anamorphic lenses even though CinemaScope has not been used since 1967. This format produces high quality projections because the entire frame is used.Īlthough the traditional anamorphic format utilized an AR of 2.35:1, the AR of most 35mm anamorphic movies since 1970 is more accurately 2.39:1. The final projection (when shown through an anamorphic projector lens of the same power) will have a much wider aspect ratio than the film frame itself, resulting in a panoramic view. By compressing the image horizontally, more of the image can be stored in the frame. Originally designed by Henri Chrétien during World War I for military reasons, anamorphic lenses are used specifically for widescreen presentations. Image taken by yours truly from a 35mm strip that was included with The Phantom Menace widescreen VHS box set.Īnamorphic Aspect ratios: Various, generally 2:1 to 2.76:1 ![]()
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