Aspect ratios - Revision history

JesseCrooks: Revised Superscope to note difference in optical center between early and late 2:1 Superscope.

2025-06-18T17:35:36Z

Revised Superscope to note difference in optical center between early and late 2:1 Superscope.

← Older revision		Revision as of 10:35, 18 June 2025
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	\| 1.85:1 \|\| Flat \|\| 1953 \|\| \|\| Warning: widescreen formats may be soft-matted.		\| 1.85:1 \|\| Flat \|\| 1953 \|\| \|\| Warning: widescreen formats may be soft-matted.
	\|-		\|-
	\| 2.00:1 \|\| Superscope \|\| c.1954 \|\| \|\| A short-lived anamorphic that employed the same 2:1 anamorphic squeeze as CinemaScope, but utilized a narrower portion of frame. ~~The~~ image is centered on the full 1.33 frame, so it lacks the horizontal offset of other optical sound formats and the lateral alignment must be adjusted for projection.		\| 2.00:1 \|\| Superscope \|\| c.1954 \|\| \|\| A short-lived anamorphic that employed the same 2:1 anamorphic squeeze as CinemaScope, but utilized a narrower portion of frame. For early Superscope the image is centered on the full 1.33 frame, so it lacks the horizontal offset of other optical sound formats and the lateral alignment must be adjusted for projection. Later Superscope uses the standard center for optical sound, with matting on both sides of the image.
	\|-		\|-
	\| 2.39:1 \|\| CinemaScope / Anamorphic \|\| 1953 \|\| \|\| The aspect ratio for CinemaScope films with an optical soundtrack. Originally released in 2.35, the aspect ratio was later changed to 2.39:1, shortening the printed image area to better hide negative splices.		\| 2.39:1 \|\| CinemaScope / Anamorphic \|\| 1953 \|\| \|\| The aspect ratio for CinemaScope films with an optical soundtrack. Originally released in 2.35, the aspect ratio was later changed to 2.39:1, shortening the printed image area to better hide negative splices.

JesseCrooks: Added period.

2020-05-12T23:36:08Z

Added period.

← Older revision		Revision as of 16:36, 12 May 2020
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	\| 1.78:1 \|\| \|\| \|\| \|\| Used for films that originated on video. Equivalent to 16x9. Films printed in 1.78 may be scaled down to fit in the 1.85 image area with pillarboxing.		\| 1.78:1 \|\| \|\| \|\| \|\| Used for films that originated on video. Equivalent to 16x9. Films printed in 1.78 may be scaled down to fit in the 1.85 image area with pillarboxing.
	\|-		\|-
	\| 1.85:1 \|\| Flat \|\| 1953 \|\| \|\| Warning: widescreen formats may be soft-matted		\| 1.85:1 \|\| Flat \|\| 1953 \|\| \|\| Warning: widescreen formats may be soft-matted.
	\|-		\|-
	\| 2.00:1 \|\| Superscope \|\| c.1954 \|\| \|\| A short-lived anamorphic that employed the same 2:1 anamorphic squeeze as CinemaScope, but utilized a narrower portion of frame. The image is centered on the full 1.33 frame, so it lacks the horizontal offset of other optical sound formats and the lateral alignment must be adjusted for projection.		\| 2.00:1 \|\| Superscope \|\| c.1954 \|\| \|\| A short-lived anamorphic that employed the same 2:1 anamorphic squeeze as CinemaScope, but utilized a narrower portion of frame. The image is centered on the full 1.33 frame, so it lacks the horizontal offset of other optical sound formats and the lateral alignment must be adjusted for projection.

JesseCrooks: Added 2.55, updated description of 2.39.

2020-05-12T21:49:08Z

Added 2.55, updated description of 2.39.

← Older revision		Revision as of 14:49, 12 May 2020
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	\| 2.00:1 \|\| Superscope \|\| c.1954 \|\| \|\| A short-lived anamorphic that employed the same 2:1 anamorphic squeeze as CinemaScope, but utilized a narrower portion of frame. The image is centered on the full 1.33 frame, so it lacks the horizontal offset of other optical sound formats and the lateral alignment must be adjusted for projection.		\| 2.00:1 \|\| Superscope \|\| c.1954 \|\| \|\| A short-lived anamorphic that employed the same 2:1 anamorphic squeeze as CinemaScope, but utilized a narrower portion of frame. The image is centered on the full 1.33 frame, so it lacks the horizontal offset of other optical sound formats and the lateral alignment must be adjusted for projection.
	\|-		\|-
	\| 2.39:1 \|\| CinemaScope / Anamorphic \|\| 1953 \|\| \|\| ~~Historically~~, ~~CinemaScope~~ aspect ~~ratios have varied~~. ~~Today's lenses are mostly calibrated for~~ 2.39:1.		\| 2.39:1 \|\| CinemaScope / Anamorphic \|\| 1953 \|\| \|\| The aspect ratio for CinemaScope films with an optical soundtrack. Originally released in 2.35, the aspect ratio was later changed to 2.39:1, shortening the printed image area to better hide negative splices.
			\|-
			\| 2.55:1 \|\| CinemaScope / Anamorphic \|\| 1953 \|\| \|\| The original CinemaScope format, printed with 4-track magnetic sound. To accommodate the magnetic tracks, the perforations were narrowed. Prints in this format can only be run on projectors with CinemaScope (CS) sprockets, and should only be repaired with splicers that have smaller CS registration pins. The lateral alignment is slightly different that that of optical soundtrack formats. Some prints were released with an additional optical track that was half the width of a standard optical track. These are referred to as MagOptical prints.
	\|-		\|-
	\|}		\|}

JesseCrooks: Added note about lateral alignment of Superscope and note about 1.78 being scaled to fit within 1.85.

2020-05-12T21:27:29Z

Added note about lateral alignment of Superscope and note about 1.78 being scaled to fit within 1.85.

← Older revision		Revision as of 14:27, 12 May 2020
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	\| 1.75:1 \|\| \|\| 1953 \|\| \|\| Early widescreen format used by MGM, Warner Brothers, and Disney.		\| 1.75:1 \|\| \|\| 1953 \|\| \|\| Early widescreen format used by MGM, Warner Brothers, and Disney.
	\|-		\|-
	\| 1.78:1 \|\| \|\| \|\| \|\| Used for films that originated on video. Equivalent to 16x9.		\| 1.78:1 \|\| \|\| \|\| \|\| Used for films that originated on video. Equivalent to 16x9. Films printed in 1.78 may be scaled down to fit in the 1.85 image area with pillarboxing.
	\|-		\|-
	\| 1.85:1 \|\| Flat \|\| 1953 \|\| \|\| Warning: widescreen formats may be soft-matted		\| 1.85:1 \|\| Flat \|\| 1953 \|\| \|\| Warning: widescreen formats may be soft-matted
	\|-		\|-
	\| 2.00:1 \|\| Superscope \|\| c.1954 \|\| \|\| A short-lived anamorphic that employed the same 2:1 anamorphic squeeze as CinemaScope, but utilized a narrower portion of frame.		\| 2.00:1 \|\| Superscope \|\| c.1954 \|\| \|\| A short-lived anamorphic that employed the same 2:1 anamorphic squeeze as CinemaScope, but utilized a narrower portion of frame. The image is centered on the full 1.33 frame, so it lacks the horizontal offset of other optical sound formats and the lateral alignment must be adjusted for projection.
	\|-		\|-
	\| 2.39:1 \|\| CinemaScope / Anamorphic \|\| 1953 \|\| \|\| Historically, CinemaScope aspect ratios have varied. Today's lenses are mostly calibrated for 2.39:1.		\| 2.39:1 \|\| CinemaScope / Anamorphic \|\| 1953 \|\| \|\| Historically, CinemaScope aspect ratios have varied. Today's lenses are mostly calibrated for 2.39:1.

JesseCrooks: Removed capitalization on second S of Superscope.

2020-05-12T21:06:55Z

Removed capitalization on second S of Superscope.

← Older revision		Revision as of 14:06, 12 May 2020
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	\| 1.85:1 \|\| Flat \|\| 1953 \|\| \|\| Warning: widescreen formats may be soft-matted		\| 1.85:1 \|\| Flat \|\| 1953 \|\| \|\| Warning: widescreen formats may be soft-matted
	\|-		\|-
	\| 2.00:1 \|\| ~~SuperScope~~ \|\| c.1954 \|\| \|\| A short-lived anamorphic that employed the same 2:1 anamorphic squeeze as CinemaScope, but utilized a narrower portion of frame.		\| 2.00:1 \|\| Superscope \|\| c.1954 \|\| \|\| A short-lived anamorphic that employed the same 2:1 anamorphic squeeze as CinemaScope, but utilized a narrower portion of frame.
	\|-		\|-
	\| 2.39:1 \|\| CinemaScope / Anamorphic \|\| 1953 \|\| \|\| Historically, CinemaScope aspect ratios have varied. Today's lenses are mostly calibrated for 2.39:1.		\| 2.39:1 \|\| CinemaScope / Anamorphic \|\| 1953 \|\| \|\| Historically, CinemaScope aspect ratios have varied. Today's lenses are mostly calibrated for 2.39:1.

JesseCrooks: Linked to Movietone page

2020-05-12T21:04:38Z

Linked to Movietone page

← Older revision		Revision as of 14:04, 12 May 2020
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	\| 1.33:1 \|\| Silent / Full Frame \|\| 1907 \|\| \|\|		\| 1.33:1 \|\| Silent / Full Frame \|\| 1907 \|\| \|\|
	\|-		\|-
	\| 1.19:1 \|\| Movietone \|\| 1926 \|\| \|\| Often projected with 1.37 lenses and aperture plates in theaters without properly sized 1.19 lenses and plates; however, doing this will chop off a substantial portion of the height of the image. In auditoriums with fixed-height screens, 1.19 can be adequately presented by removing the anamorphic attachment from the spherical lens used for 2.39 and using that in conjunction with the 2.39 aperture plate.		\| 1.19:1 \|\| [[Movietone]] \|\| 1926 \|\| \|\| Often projected with 1.37 lenses and aperture plates in theaters without properly sized 1.19 lenses and plates; however, doing this will chop off a substantial portion of the height of the image. In auditoriums with fixed-height screens, 1.19 can be adequately presented by removing the anamorphic attachment from the spherical lens used for 2.39 and using that in conjunction with the 2.39 aperture plate.
	\|-		\|-
	\| 1.37:1 \|\| Academy ratio \|\| 1932 \|\| \|\| Sometimes incorrectly called 1.33. Was used well past 1953 in some countries outside of the US. See also: [[List of 35mm features released in 1.37 after 1953]].		\| 1.37:1 \|\| Academy ratio \|\| 1932 \|\| \|\| Sometimes incorrectly called 1.33. Was used well past 1953 in some countries outside of the US. See also: [[List of 35mm features released in 1.37 after 1953]].

JesseCrooks: /* 35mm */ Added info for 1.19, added 1.75 and 2.00.

2019-11-24T04:19:03Z

35mm: Added info for 1.19, added 1.75 and 2.00.

← Older revision		Revision as of 21:19, 23 November 2019
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	\| 1.33:1 \|\| Silent / Full Frame \|\| 1907 \|\| \|\|		\| 1.33:1 \|\| Silent / Full Frame \|\| 1907 \|\| \|\|
	\|-		\|-
	\| 1.19:1 \|\| Movietone \|\| 1926 \|\| \|\| Often projected with 1.37 lenses in theaters without ~~specialized~~ 1.19 lenses; however, doing this will chop off a substantial portion of the image.		\| 1.19:1 \|\| Movietone \|\| 1926 \|\| \|\| Often projected with 1.37 lenses and aperture plates in theaters without properly sized 1.19 lenses and plates; however, doing this will chop off a substantial portion of the height of the image. In auditoriums with fixed-height screens, 1.19 can be adequately presented by removing the anamorphic attachment from the spherical lens used for 2.39 and using that in conjunction with the 2.39 aperture plate.
	\|-		\|-
	\| 1.37:1 \|\| Academy ratio \|\| 1932 \|\| \|\| Sometimes incorrectly called 1.33. Was used well past 1953 in some countries outside of the US. See also: [[List of 35mm features released in 1.37 after 1953]].		\| 1.37:1 \|\| Academy ratio \|\| 1932 \|\| \|\| Sometimes incorrectly called 1.33. Was used well past 1953 in some countries outside of the US. See also: [[List of 35mm features released in 1.37 after 1953]].
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	\| Windowboxed 1.37:1 \|\| \|\| ? \|\| \|\| Projected with a 1.85 lens and aperture plate, these prints are often rereleases of films made in traditional 1.37 that will be shown in wide release at theaters not outfitted with 1.37 lenses.		\| Windowboxed 1.37:1 \|\| \|\| ? \|\| \|\| Projected with a 1.85 lens and aperture plate, these prints are often rereleases of films made in traditional 1.37 that will be shown in wide release at theaters not outfitted with 1.37 lenses.
	\|-		\|-
	\| 1.66:1 \|\| \|\| 1953 \|\| \|\| Warning: widescreen formats may be soft-matted		\| 1.66:1 \|\| \|\| 1953 \|\| \|\| Commonly used in Europe to provide additional height for subtitles. Warning: widescreen formats may be soft-matted.
	\|-		\|-
	\| 1.78:1 \|\| \|\| \|\| \|\| Used for films that originated on video.		\| 1.75:1 \|\| \|\| 1953 \|\| \|\| Early widescreen format used by MGM, Warner Brothers, and Disney.
			\|-
			\| 1.78:1 \|\| \|\| \|\| \|\| Used for films that originated on video. Equivalent to 16x9.
	\|-		\|-
	\| 1.85:1 \|\| Flat \|\| 1953 \|\| \|\| Warning: widescreen formats may be soft-matted		\| 1.85:1 \|\| Flat \|\| 1953 \|\| \|\| Warning: widescreen formats may be soft-matted
			\|-
			\| 2.00:1 \|\| SuperScope \|\| c.1954 \|\| \|\| A short-lived anamorphic that employed the same 2:1 anamorphic squeeze as CinemaScope, but utilized a narrower portion of frame.
	\|-		\|-
	\| 2.39:1 \|\| CinemaScope / Anamorphic \|\| 1953 \|\| \|\| Historically, CinemaScope aspect ratios have varied. Today's lenses are mostly calibrated for 2.39:1.		\| 2.39:1 \|\| CinemaScope / Anamorphic \|\| 1953 \|\| \|\| Historically, CinemaScope aspect ratios have varied. Today's lenses are mostly calibrated for 2.39:1.

Rlyon: /* External Links */

2017-04-04T19:33:51Z

External Links

← Older revision		Revision as of 12:33, 4 April 2017
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	[[Category:Film prints]]		[[Category:Film prints]]
	[[Category:Showmanship]]		[[Category:Showmanship]]
	[[Category:Film ~~gauge~~]]		[[Category:Film gauges]]

Rlyon at 19:33, 4 April 2017

2017-04-04T19:33:31Z

← Older revision		Revision as of 12:33, 4 April 2017
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	[[Category:Film prints]]		[[Category:Film prints]]
	[[Category:Showmanship]]		[[Category:Showmanship]]
			[[Category:Film gauge]]

Rfhall at 00:50, 11 December 2016

2016-12-11T00:50:45Z

← Older revision		Revision as of 17:50, 10 December 2016
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	* Advice from Jean-Pierre Léaud: [http://www.youtube.com/watch?v=M0ba3WOoE20 YouTube]		* Advice from Jean-Pierre Léaud: [http://www.youtube.com/watch?v=M0ba3WOoE20 YouTube]

	~~[[Category:Film components]]~~
	[[Category:Film prints]]		[[Category:Film prints]]
	[[Category:Showmanship]]		[[Category:Showmanship]]