Shiny disk and streaming deliverable formats are 2.39:1 as well, so your 2.35:1 final will be letterboxed to fit into digital delivery. Lee Gauthier wrote:SMPTE widescreen/scope DCP dimensions are 2048×858 or 4096×1716 both are 2.39:1. Once again, thank you for taking the time to share your knowledge on the matter! Nevertheless, say Nolan's film such as Interstellar was finished as 2.35:1, how would they go about changing it to fit a digital cinema of my or your hometown? I understand that 2400 x 1021 (2.35:1, BMCC RAW) in comparison to 2048 x 858 (2.39:1, BMCC RAW) is quite wider and would therefor require cropping, as you said. Which also was one of my reasons to learn more about the difference between these two aspect ratios, since it doesn't really make much sense to crop away a larger part of your image when you could use 2.35:1 (regarding shooting in 16:9 and applying black bars/ changing sequence settings - not shooting anamorphics). The reason for my fascination for this aspect ratios is because of the movies which use them, same as Nolan and Tarantino who remember cinema being of a certain look and aspect ratio I too try to emulate that "feeling of cinema" and even though the difference between 2.39:1 and 2.35:1 aren't that huge, you still get more in your frame and more pixels if using the latter. I will try that out, thanks for the tip! I know he likes filming anamorphic and will try to use film as long as possible, since both Nolan and Tarantino (Django and Inglorious is also categorized as 2.35:1) prefer the look and feel of the latter in comparison to digital film, thus it might be because of their equipment that makes them use that specific aspect ratio, as well as the historical element you refer to. That might very well be! Still, Memento, Inception, The Dark Knight and Interstellar are all categorized as 2.35:1 on IMDB. If you want the audience to see it as you shot it, finish in 2.39:1. Jaws, for example, is closer to 2.2 than to 2.35, but it's labeled as 2.35 on the box.Īt the end of the day, be aware that if you shoot in 2.35:1 or any other non-standard format, your picture will be cropped or padded when you want to exhibit it in cinemas, streaming or disc. Some movies are in odd widescreen formats, and the disc makers just tick a box for "wide" and they apply whatever number they use for widescreen. They may not have measured the aspect.They say "235" even when they mean 2.39:1 Many people - even techs - don't realize that 2.39:1 is the SMPTE aspect ratio for scope/widescreen. To be sure, grab a frame from the DVD or Blu-ray and check the pixel dimensions. Many shiny discs list the wrong aspect ratio. (It is probable that when shown in the cinema, it was hard matted to 2.39:1, which was one of the practices that led to 2.35's deprecation in 1971.) He may have gone so far as to use vintage cameras set up for 2.35. Nolan could have shot the Prestige in 2.35:1 as an homage to 1970s film.I'm looking for any opportunity to learn more about these facts. Simon Solbakken wrote:I see, thank you for the feedback Lee! Would you please explain how the process of screening for instance The Prestige by Christopher Nolan looks like, which is of the 2:35.1 aspect ratio.
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