Generally speaking, it is a very simple process, especially when one It’s not like masking a screen is difficult or complex,Įither. This is why masking is such an important process in filmĮxhibition, and why it has been standard practice since widescreen aspect Hurry, and even, on this second viewing, made me feeling physically queasy atĪ letterboxed image from a 'darker' scene in Avengers: Age of Ultron Is naturally drawing my eye toward the vertical, can become exhausting in a Trying to focus on the horizontal axis during Mad Max, for instance, when the masking Greater sense of ‘grandeur,’ and can also, with certain films, create a sense This is what robs an improperly masked image of its Our eyes are thusĭrawn to the vertical space of the frame, even though a Scope 2.39:1 image is composed Image is letterboxed, and the bars are hard-coded into the image, the lightįrom the projector still shines within the entire 16x9 space. Viewer, and the intended ‘horizontal’ axis is effectively negated. Image within a Flat frame, that ‘vertical’ axis continues to act upon the Compositionally, this is the key differenceīetween them, and neither is necessarily ‘superior’ to the other it allĭepends on the needs of the film in question. A Flat image, being taller, naturally draws Image emphasizes width, the horizontal axis of the frame being the dimension
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Projectionist had full control over the projector and the screen dimensions,Īnd could fix a problem with relative ease when mistakes were made.Īn example of a 'letterboxed' widescreen image, from Mad Max: Fury Roadįor instance, when projected and masked properly, a Scope Projection might combine to create an undesirable viewing experience, but in theĭays of 35mm, I would say these instances were rare, in part because the There are other ways improper masking and Problematically, a Scope film might be projected on a Flat screen, distorted toįit the boundaries (in these cases, everything in the image would look Scope screen with ‘pillarboxing’ – empty space on the sides – or more In other cases, a Flat film might be projected on a Scope, rather than expanding, this meant that the top third of the image wasīeing projected above the curtain, with empty space on the sides. Since this was an auditorium that ‘shrunk’ a screen from Flat to Projected on 35mm, and while the projectionist played the film in its properĪspect ratio – Flat, 1.85:1 – he left the screen dimensions improperly maskedĪt 2.39:1. For instance, I remember going toĭoctor Parnassus at the United Artists Denver West theater in 2009, Image being distorted in one way or another. Of our modern masking problems), masking errors would typically result in an In the days before digital projectors (which are the source for many Watching a ‘Scope’ image it is the preferred aspect ratio of epics, actionįilms, and even many modern dramas (like the 2013 Best Picture winner, 12 Years a Slave).įailure to mask a screen properly can result in numerous See a film in a multiplex – especially a big summer spectacle, like Avengers: Age of Ultron, Mad Max: Fury Road,
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It is the ratio used for almost all TV programming theseĭays, and commonly used for comedy films and many dramas, such as last year’s BestĪs Scope or Anamorphic, and is a much wider image. This is almost identical to the 16x9 rectangular dimensions of a standard Ratio refers to the visual parameters of the cinematic image, and in modernĬinema, we generally have two of them. There is nothing technicallyĬomplicated at work here, and these are notions even casual filmgoers should beįamiliar with, in idea if not in name.
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