20:
112:(AMPAS) considered further alterations to this 1930 standard. Various dimensions were submitted, and the projector aperture plate opening size of 0.825 in × 0.600 in was agreed upon. The resulting 1.375:1 aspect ratio was then dubbed the "Academy Ratio". On May 9, 1932, the SMPE adopted the same 0.825 in × 0.600 in (21.0 mm × 15.2 mm) projector aperture standard.
97::1 ratio by decreasing the projector aperture in-house met with conflicting results. Each movie theater chain, furthermore, had its own designated house ratio. The first standards set for the new sound-on-film motion pictures were accepted in November 1929, when all major US studios agreed to compose for the
85:
was introduced in the late 1920s, the soundtrack was recorded in a stripe running just inside one set of the perforations and cut into the 1.33 image. This made the image area "taller", usually around 1.19, which was slightly disorienting to audiences used to the
287:
During filming, using the 4-perf frame for widescreen framing when spherical lenses are used is sometimes considered to be wasteful in terms of the cost of film stock and processing, especially in the case of television, which does not require a film print. The
283:
to 1.85, some still retain
Academy-sized frames. These frames are then cropped in the projector by means of aperture masks used in the projector's gate in conjunction with a wider lens than would be used for projecting Academy ratio films.
115:
All studio films shot in 35 mm from 1932 to 1952 were shot in the
Academy ratio. However, following the widescreen "revolution" of 1953, it quickly became an obsolete production format. Within several months, all major studios started
255:
279:
are added. Though most non-anamorphic film prints with a soundtrack are now framed to one of the non-anamorphic widescreen ratios, from 1.
109:
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101:(SMPE) designated size of 0.800 in × 0.600 in (20.3 mm × 15.2 mm) returning to the aspect ratio of 1.3
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as the standard film aspect ratio in 1932, although similar-sized ratios were used as early as 1928.
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1.375:1 is not totally obsolete, nonetheless, and can still be found in select recent films such as
90:
frame and also presented problems for exhibitors with fixed-size screens and stationary projectors.
217:
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73::1 or 4:3 aspect ratio), with each frame using all of the negative space between the two rows of
544:
903:
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Bernstein, N.D.; Wysotsky, M.Z.; and
Konoplev, B.N. "A Universal Format for Film Production."
882:
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32:
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357:
How to Read a Film: The Art, Technology, Language, History and Theory of Film and Media
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silent aperture gate for all 4-perf spherical filming. Rather, it is created in the
128:, 1.75, and 1.85, the last of which is still considered a standard ratio along with
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The
Academy ratio is not created in the camera, which has continued to use the
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From studio to studio, the common attempt to reduce the image back to a 1.
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259:(2008) intended for 1.78:1 exhibition (a 2.39:1 version was also made).
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485:"The Grand Budapest Hotel (2014) - Technical Specifications - IMDb"
432:
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567:
September 1973; Lente, Miklos. "The
Proposed Trilent-35 System."
19:
850:
782:
509:
489:
505:"First Reformed (2017) - Technical Specifications - IMDb"
549:: An Ordinary High School Movie. Except That It's Not."
571:
June 1976; Ericson, Rune. "Three-Perf in the Future."
292:
process was originally proposed in 1973, developed by
359:. Rev. ed. New York: Oxford University Press, 1981.
81:between the silent film frames was very thin. When
527:The-Artists-Cinematographer-Speaks. "Studio Daily"
459:Journal of the Society of Motion Picture Engineers
455:"Society Announcements, New Dimensional Standards"
421:Journal of the Society of Motion Picture Engineers
256:Indiana Jones and the Kingdom of the Crystal Skull
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49:Academy of Motion Picture Arts and Sciences
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31:of 1.375:1 (abbreviated as 1.37:1) is an
397:. Rev. ed. New York: McGraw-Hill, 1993.
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393:Bordwell, David and Thompson, Kristin.
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77:for a length of 4 perforations. The
99:Society of Motion Picture Engineers
69::1 aspect ratio (also known as a 1.
16:Aspect ratio with a width of 1.37:1
13:
296:in 1976, and further developed by
275:, when the optical soundtrack and
120:their non-anamorphic films in the
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417:"Camera and Projection Apertures"
300:in 1986 to solve this problem.
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415:Cowan, Lester (January 1930).
65:Silent films were shot at a 1/
1:
47:. It was standardized by the
231:(2012) as well on prints of
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956:Motion picture film formats
310:Full frame (disambiguation)
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10:
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124:to wider ratios such as 1.
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573:American Cinematographer.
569:American Cinematographer.
395:Film Art: An Introduction
228:It's Such a Beautiful Day
61:Widescreen § History
325:
152:The Grand Budapest Hotel
142:The Tragedy of Macbeth
24:
883:Anamorphic widescreen
565:Journal of the SMPTE.
545:Garry, John P. III. "
465:(1): 924. July 1932.
23:Academy ratio 1.375:1
22:
315:List of film formats
775:Super Panavision 70
767:Ultra Panavision 70
173:Michel Hazanavicius
553:#47 (Winter 2005).
320:Matte (filmmaking)
237:Christopher Miller
25:
943:
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934:Shoot and protect
858:Anamorphic format
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724:Modern anamorphic
263:Technical details
218:Post Tenebras Lux
75:film perforations
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29:Academy ratio
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911:Pan and scan
843:
834:Aspect ratio
820: (1958)
812: (1958)
810:Kinopanorama
804: (1952)
785: (1970)
761: (1955)
742: (1982)
734: (1960)
726: (1957)
710: (1954)
702: (1953)
684:Film formats
652:17.5 mm
614:film formats
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221:(2012), and
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183:Gus Van Sant
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147:Wes Anderson
141:
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33:aspect ratio
28:
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818:Cinemiracle
732:Techniscope
708:VistaVision
700:CinemaScope
638:9.5 mm
622:Film gauges
277:frame lines
245:(2014) and
155:(2014) and
950:Categories
927:Open matte
918:Fullscreen
876:Widescreen
716:Technirama
673:70 mm
666:35 mm
659:28 mm
645:16 mm
575:July 1986.
269:full frame
249:prints of
178:The Artist
130:anamorphic
79:frame line
59:See also:
904:Windowbox
897:Pillarbox
890:Letterbox
836:standards
794:35 mm × 3
631:8 mm
551:Jump Cut.
233:Phil Lord
198:Fish Tank
137:Joel Coen
122:projector
802:Cinerama
740:Super 35
547:Elephant
304:See also
211:(2010),
201:(2009),
191:(2003),
188:Elephant
181:(2011),
171:(2017),
161:(2023),
145:(2021),
132:(2.39).
759:Todd-AO
471:1951231
441:1951231
118:matting
55:History
961:Ratios
777:(1959)
769:(1957)
718:(1956)
469:
439:
401:
363:
751:70 mm
692:35 mm
326:Notes
37:frame
35:of a
851:14:9
783:IMAX
510:IMDb
490:IMDb
467:OCLC
437:OCLC
399:ISBN
361:ISBN
105::1.
27:The
463:XIX
429:doi
425:XIV
253:'s
247:4:3
239:'s
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39:of
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86:1.
605:e
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443:.
431::
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367:.
281:6
126:6
103:3
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88:3
71:3
67:3
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