Isn't It Time Pan & Scan/"Full Screen" Went Away?
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Nachtkriechen
December 2003
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With the advent of the number of wide flat panel TV adopters growing daily, isn't it about time this archaic format is done away with? Now, of course we'd have to preserve the films that were originally released in Full Screen, like "101 Dalmatians", and... uh... well, I'm sure there's at least one other film originally released in Full Screen, but, beyond that, can anyone come up with legitimate reasons for it to stay?
- Josh
John J. Puccio
March 2002
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Josh,
I think we recently discussed this subject in another thread. Studios are in business to make money, not educate the public. Since over half the general public still own 1.33:1 ratio, standard-screen televisions, many of them seem to want a picture that fills their screen. So the studios give it to them, even though it means cutting out up to half the original theatrical picture left and/or right.
To each his own. So long as studios also offer widescreen versions, I'm happy. It's when a studio occasionally only offers a movie in 1.33:1 "full-screen" (less common these days, thankfully) that I'm ticked off. Universal, for instance, has never offered "The Shadow" in widescreen on DVD. Maybe they'll give us a BD version in widescreen some day.
John
Tim Raynor
March 2002
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posters5
March 2002
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View profile »the Pan-&-Scan garbage is almost entirely indigenous to the U.S. i went on a global trip in 2005, and in every country that i visited, i did not see a single MAR (modified aspect ratio) dvd. this may be the only country, literally, to have those abominations. part of the problem may be the fact that the home video market here developed years before other countries' did, but we also have many boneheaded consumers who refuse to accept that OAR (even 2.35:1 with thick black bars) lets you see all of the intended picture.
eddie
ReaggieP
January 2008
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View profile »I do agree, it too bad there is two generations of people before us that feel differently.
mvckalel
October 2007
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Skyhawk
October 2007
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View profile »Well.. if you like.
I think you're confusing the cropping used in Super 35 format, to anamorphic formats. No "special" camera lenses are required for Super 35, meaning no lenses that stretch the image (and make people look like sticks) that anamorphic formats use. Super 35 records the image in 1.33:1 aspect ratio, which is then later cropped to the desired AR. One disadvantage with Super 35 is that it doesn't take advantage of the resolution offerred by the full 35mm negative frame. A digital or optical intermediate is also necessary for Super 35, since it cannot be shown in theaters in this format and must be cropped and then "anamorphosed" before transferring it to a regular anamorphic negative master.
Wide angle lenses (and fish eye as the extreme version) simply refer to any lens with a focal length of under 50mm, and are used to make things smaller (fitting more people into a scene at a given distance), or to make the distance behind elements seem much greater. Zoom lenses have been used a long time in cinema, and often the focal length will go from wide angle to 200mm telephoto in a single scene (zooming in). Focal length has nothing to do with film formats or aspect ratios though.
wolvinator
January 2008
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