![]() ![]() Citizen Kane, produced in the Academy Ratio of 1.37:1 How the West Was Won (Cinerama aspect ratio) Ben-Hur was shot in 2.76:1įrom this tumultuous era in cinema, two aspect ratios emerged to remain mainstream even to the present day. The ’50s saw experimentation with a plethora of new aspect ratios, from Fred Waller’s 2.59 Cinerama (as seen in 1962’s How the West Was Won), the 1.66 ratio of 1953’s Shane, and the outrageous, larger than life grandeur of Ben-Hur’s (1959) 2.76 aspect ratio. In the 1950s with the television’s growth in popularity and declining ticket sales at the box office, the widescreen aspect ratio was born to offer a thrilling new experience to moviegoers to entice them back to the cinema. This became known as the Academy Ratio after the Academy of Motion Picture Arts and Sciences deemed the alteration to the original 1.33 ratio appropriate in 1932. This was the standard format in the United States from 1909 until 1932 when the inclusion of synchronised sound in “talkies” caused the aspect ratio to adapt from 1.33 to 1.37 to accommodate the audio waveforms printed onto the film strip alongside the images. The original silent motion pictures were produced on 35mm film which contained images that were 0.95 inches wide by 0.735 inches high, thus an aspect ratio of 4:3. ![]() Vittorio Storaro, 2007 Aspect Ratios A Brief History of Aspect Ratios in Cinema and TelevisionĪspect ratio can be simply defined as the width to height of an image, expressed as either a ratio (16:9) or a decimal (1.78) in some cases, the decimals are also written as ratios (e.g. The myth of Plato is a metaphor for the Cinema. They are watching images as a simulation, a “simulacra” of reality, not reality itself. The prisoners are looking at the moving shadows in that specific area of the wall. At the same time, their shadows are projected onto the interior wall of the cave by fire’s light. In Plato’s Myth, prisoners are kept in a cave facing an interior wall, while behind them, at the entrance to the cave, there is a lighted fire with some people with statues and flags passing in front of the fire. It examines how manipulating how much of your image is visible onscreen can impact your storytelling potential and viewer experience of your films.Įver since Plato’s Myth of the Cave we are used to seeing images in a specific space. This blog post is a case study on aspect ratios, diving into both their rich history and present-day situation. While in days gone by viewers only watched moving pictures in a cinema or on a 4:3 television screen, today there are more than 2.1 billion individuals worldwide using smartphones to watch video content on online streaming platforms like Netflix and YouTube who are once again revolutionising the way people view video. Both the size and composition of a video’s frame impact the effectiveness and power of the image contained therein.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |