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The early days of widescreen were fairly chaotic as studios tried out different widescreen aspect ratios. Many films released during this period were produced with the understanding that some theaters would still need to screen them 1.37:1 while those who were able would screen them in a widescreen aspect ratio, with widescreen masking. By the late 1950s most American studios eventually coalesced around the 1.85:1 and 2.39:1 formats for 35mm, with some exceptions. Many theaters began installing masking systems that could only mask these two aspect ratios. The masking was typically fixed-height, with the sides expanding for 2.39 and narrowing for 1.85. This strikes a good balance between the aperture size and the illuminated surface area of the screen, with the larger Scope aperture corresponding to a larger projected image. With the same light output from the lamp, both aspect ratios can be illuminated within the SMPTE-specified parameters. | The early days of widescreen were fairly chaotic as studios tried out different widescreen aspect ratios. Many films released during this period were produced with the understanding that some theaters would still need to screen them 1.37:1 while those who were able (i.e had updated their theaters to accommodate widescreen) would screen them in a widescreen aspect ratio, with widescreen masking. | ||
===Fixed Height Screens=== | |||
By the late 1950s most American studios eventually coalesced around the 1.85:1 and 2.39:1 formats for 35mm, with some exceptions. Many theaters began installing masking systems that could only mask these two aspect ratios. The masking was typically fixed-height, with the sides expanding for 2.39 and narrowing for 1.85. This strikes a good balance between the aperture size and the illuminated surface area of the screen, with the larger Scope aperture corresponding to a larger projected image. With the same light output from the lamp, both aspect ratios can be illuminated within the SMPTE-specified parameters. | |||
===Fixed Width Screens=== | |||
Although it is more rare some theaters have fixed-width screens in which case the visible screen size with the masking all the way open would be 1.85:1 and the top and bottom masking would close down for wider aspect ratios like 2.39:1 or 2.2:1. This is common in theaters built before the widescreen era that retained their original screen footprint and front of house (rather than installing a wider screener in front). | |||
===Modern Masking Scenarios=== | |||
Although being able to only accommodate 1.85:1 "flat" and 2.39:1 "scope" works well for venues screening mostly new releases and older titles produced after the "widescreen chaos" era (so after the 1950s) American films, those committed to the proper presentation of films from any era, and any country, need more flexibility. They require masking systems that enable them to properly mask films of a wider variety of aspect ratios. | |||
In the digital era, some first-run theaters (or theaters built in the digital era) started to move away from the use of adjustable masking, relying instead on the projected image to provide a sharp edge to the picture. However, improperly masked digital images will have grey letterboxing or pillarboxing around the image instead of a black border. | In the digital era, some first-run theaters (or theaters built in the digital era) started to move away from the use of adjustable masking, relying instead on the projected image to provide a sharp edge to the picture. However, improperly masked digital images will have grey letterboxing or pillarboxing around the image instead of a black border. | ||