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Aspect Ratio
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Different Directors use different aspect ratios. Anything from 4:3 to 200:120. BTW, most people use whole numbers with aspect ratios, only studios use other numbers to create confusion.
TEG
TEG
I'm just thankful those 2.35:1 movies don't get cropped to fit 16:9 like on many broadcast channels to avoid the complaints from the ill-informed.
Living in the southern US, I've heard my share of "Ah bought this-here fancy Tee-Vee to get rid of those dang black bars, by God, so whah do ah still see 'em?"
People like this don't deserve advances in technology. These people are the reason I have to watch TBS-HD and the like in "stretch-o-vision." When will the cable networks wake up? If I want to remove those black bars and watch a stretched picture, let me do it myself, but don't force it down my throat!
Living in the southern US, I've heard my share of "Ah bought this-here fancy Tee-Vee to get rid of those dang black bars, by God, so whah do ah still see 'em?"
People like this don't deserve advances in technology. These people are the reason I have to watch TBS-HD and the like in "stretch-o-vision." When will the cable networks wake up? If I want to remove those black bars and watch a stretched picture, let me do it myself, but don't force it down my throat!
The HD movie frame aspect ratio is dependent upon the source format.
For the record, every single reference to 2.35:1 is incorrect. This aspect ratio was used in the 1950's with CinemaScope, a now defunct format. There isn't a single film shot in CinemaScope these days.
So here's how it works....
1.37:1 - 35mm full aperture.
1.33:1 (4:3) - Standard definition television
1.66:1 - not contemporary, used in some Kubrick films e.g. Barry Lyndon, Full Metal Jacket
1.78:1 (16:9) - HDTV frame aspect ratio
1.85:1 - Super 35mm, soft- or hard-matted from 1.37:1.
2.40:1 - Panavision. Mistakenly called "Scope" and 2.35:1. Filmed on 1.37:1 frame using an anamorphic lens.
Every one of these aspect ratios other than 16: will have matte lines when viewed on an HDTV.
Thanks for the clarification, Avatar. Your info inspired me to research the CinemaScope format further. A technically troubled format since its adoption by Fox in the early 1950s, some of the more notable CinemaScope films were 20,000 Leagues Under the Sea, Butterfield 8, How to Marry a Millionaire, In Like Flint, The King and I, Lady and the Tramp, Oklahoma!, and A Star Is Born.
To add to what's already been discussed, I think it's worth pointing out that movies in the US are generally released (these days) in one of two aspect ratios: 1.85:1 or 2.35:1. Since widescreen TVs have an aspect ratio of 1.78:1, you will definitely have some black bars on 2.35:1 movies. Unless your TV has no overscan, you probably won't see the small black bars on 1.85:1 movies.
I want you to know, I am creating a document of your posts to refer to when I have questions. It's a testament to the knowledge you bring when it comes to video.
I have already put some of the knowledge you have imparted to use. The photo slide shows I create now display without issue on every TV I have tested them on. ( you should see the look on the people at Circuit City and Best Buy when I bring in the Apple TV to 'test' a potential purchase!
)Your posts are always informative and educational.
Sadly my ATV died sometime in the last 24 hours and I am off to the Apple Store!
Panavision is a name of the company, although it did play a large role in adoption of "2.40:1" aspect ratio (2.39:1 if you want to get technical) and the term "Filmed in Panavision" refers to Panavision's anamorphic lens (which measures 2.39:1). Since Panavision makes products in various aspect ratios, this ratio is more commonly called scope or 35mm anamorphic. For historical reason, most folks, even professionals, still calls it 2.35:1 (which is how it measured prior to 1970).
You forgot 70mm ratio (Super Panavision, Todd-AO) which is 2.20:1 (sometimes cropped to 2:05:1).