Anamorphic widescreen uses the entire frame by vertically stretching the image to fit on the negative. This is accomplished with special lenses that compress the image as it is filmed. To correct the distortion caused by a 2.
The resulting image has greater resolution because more film area is being used to project the same picture. This technique works similarly when applied to DVD. Conventional analog televisions have an aspect ratio of 4x3, or 1. A video image not recorded in anamorphic widescreen looks much like a non-anamorphic film negative: the full width of the image is presented with black bars at the top and bottom.
Anamorphic DVDs record a vertically stretched image that fills an entire 4x3 frame. When played back on a 4x3 television, the DVD player restores the correct aspect ratio and generates black bars at the top and bottom of the frame, and it looks much like a letterboxed DVD. On a widescreen 16x9 television, the difference is obvious, however. The television, much like an anamorphic projection lens, restores the image to its original proportions and, depending on the aspect ratio of the film, displays smaller or no black bars because both the television screen and movie are widescreen.
This is not likely to soon change because cinemas around the world already have an investment in the equipment to project this format. Other widescreen film formats commonly 1. This can occur either during filming, where part of the picture is masked out in the gate, or in the lab, which can optically create a matte onto the prints. Either method produces a frame similar to that in Figure 1.
Many film prints today have no matte, though the film is framed for the intended aspect ratio; this approach is called full frame filming. In these, the film captures additional information that is masked out during projection in the projector gate, known as soft matte process. This approach allows filmmakers the freedom to include the additional picture in a transfer of the film and avoid pan and scan , though doing so may introduce areas of the picture that were not intended for viewing, such as microphone booms or other filming accessories that would not have been visible in the widescreen frame.
For this reason, often productions will "protect for " by making certain the frame is clear of these objects, even though that part of the image will not remain visible in the theater. One common misconception about the anamorphic format concerns the actual number of the aspect ratio itself. Since the anamorphic lenses in virtually all 35mm anamorphic systems provide a squeeze, one would logically conclude that a 1.
However, due to a difference in the camera gate aperture and projection mask sizes for anamorphic films, the image dimensions used for anamorphic film vary from "flat" spherical counterparts. To complicate matters, the SMPTE standards for the format have varied over time; to further complicate things, pre prints took up the optical soundtrack space of the print instead having magnetic sound on the sides , which made for a 2. The aspect ratio for this aperture, after a 2x unsqueeze, rounds to 2.
A new definition was created in October PH This new aperture size, 0. The most recent revision, from August SMPTE , slightly altered the dimensions so as to standardize a common aperture width 0. At these modern dimensions 0.
Anamorphic prints are still often called 'Scope or 2. With the exception of certain specialist and archivist areas, generally 2. To complicate matters even further, 2.
Most modern cinematographers use "2. A similar anamorphic technique is used to store video on DVD. DVDs using anamorphic widescreen make the most effective use of the available resolution , as well as allowing a film to automatically expand to fit widescreen television sets.
Widescreen pictures on DVD are stored in a horizontally squeezed format, in order to maximize the available storage space, and not waste as much on storing the black letterboxing bars. Sources that are close to are transferred to DVD taking up the entire frame. Sources that are wider than , such as 2. When a DVD is inserted into a player, the player will do one of two things depending on the type of television set in use: If the DVD player is set up to output a widescreen image, the player will signal to the TV that the video is anamorphic, and then sends the video, still horizontally squeezed, to the television, which will stretch it horizontally to fill the screen.
The combination of this squeeze-and-stretch restores the video back to its original widescreen aspect ratio, minimizing the loss of quality. If the DVD player is setup to output a letterboxed picture, the DVD player stretches the picture horizontally to restore the correct aspect ratio, and adds letterbox-style "black-bars" before sending the signal to the TV. This technique is not used on all DVD discs; some use the standard letterboxing technique. Those that do use the anamorphic technique typically specify "anamorphic widescreen", "enhanced for 16x9", "enhanced for widescreen televisions" or a similar statement on the packaging, though there is currently no widely accepted standard for such labeling.
If a DVD claims to be widescreen, but does not have a label like one of the previous, it may use the standard letterbox technique, resulting in decreased resolution for widescreen pictures.
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