You know those black bars you see on movie screens? Take this 11 minute journey and you'll find out waaaaay more than you ever thought you would know about such a technical detail.
Movies were born in 1.33 : 1. Abel Gance tried to enlarge it to 4.00 : 1, but the fashion wasn't launched. Sound films changed things to 1.19/1.20 and, mostly, Academy Ratio (1.37 : 1). Proto 70mm films at 2.10 didn't leave a mark.
In 1953, Widescreen came back with a vengeance at 1.66, 1.75, 1.85, 2.00, 2.20, 2.35, 2.55, 2.59, 2.76 and 2.89 (once), though only 2.35 (soon turned into 2.39), 1.85 and European-looking 1.66 became largely popular.
Nowadays you will find screen-fillling 1.78, IMAX-theater-slave 1.43, 1.90, whatever Michael Bay comes up with and suddenly ubiquitous 2.00 : 1.
Vittorio Storaro did what he could to make 2.00 (Univisium) happen, but it simply would NOT happen. Then David Fincher used it ONCE and boy oh boy did 2.00 : 1 happen!
Does it all sound too algebraic, mixing up letters and numbers? As much as I admire your literary attention to RU-vid description texts, I advise you to watch the video, my wonderful friend!
0:00 What is Aspect Ratio
0:30 1.33
0:40 4.00
01:25 1.37
01:43 1.19 / 1.20
02:04 2.10
02:22 The Rise of Widescreen
04:23 2.35 / 2.39
05:26 1.85
06:09 1.66
06:41 2.20
07:01 2.76
07:29 2.59
07:40 2.89
07:54 2.55
08:11 1.78
08:30 1.75
08:42 Nowadays
08:55 1.43
09:12 1.90
09:21 2.00
10:25 Lightning Recap!
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Scheming Weasel (faster version) by Kevin MacLeod incompetech.com
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29 июл 2024
