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I'm editing the ratio given for anamorphic. It's 2.35:1, not 2.39:1.
KC —Preceding unsigned comment added by Thereelghostbuster ( talk • contribs) 03:19, 8 October 2007 (UTC)
To the best of my knowledge the standard A. M. P. A. S. or Academy picture image aspect ratio is 3 to 4 or 4 to 3 as it has been since the beginnings of Dickson's work. All through the silent era screens were in the 3:4 proportion and that ratio was maintained into the talkies and until 1952 when CINERAMA first broke it up. The actual aperture measurements should not be taken as absolute. According to the basic idea of the ISO 2939 standard the projector aperture should be the biggest one that can be inscribed within the values and tolerances given. When the camera aperture is in the region of 1:1.375 it is only accidental. What counts is always what is shown. From experience the three-to-four aspect is very dynamic. It helps the action on the screen come out. An exact square picture by comparison looks rather rigid or constraining. Filmtechniker- 80.219.86.238 ( talk) 11:57, 26 December 2007 (UTC)
Academy ratio is generally defined as 1.33:1. This isn't the view of 'laymen'; you'll find this definition in many authoritative sources (Ephraim Katz, Kevin Jackson and the Oxford Companion to Film, for example). —Preceding unsigned comment added by Lionel Shanks ( talk • contribs) 21:56, 27 July 2010 (UTC)
This article is rated Start-class on Wikipedia's
content assessment scale. It is of interest to the following WikiProjects: | |||||||||||
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I'm editing the ratio given for anamorphic. It's 2.35:1, not 2.39:1.
KC —Preceding unsigned comment added by Thereelghostbuster ( talk • contribs) 03:19, 8 October 2007 (UTC)
To the best of my knowledge the standard A. M. P. A. S. or Academy picture image aspect ratio is 3 to 4 or 4 to 3 as it has been since the beginnings of Dickson's work. All through the silent era screens were in the 3:4 proportion and that ratio was maintained into the talkies and until 1952 when CINERAMA first broke it up. The actual aperture measurements should not be taken as absolute. According to the basic idea of the ISO 2939 standard the projector aperture should be the biggest one that can be inscribed within the values and tolerances given. When the camera aperture is in the region of 1:1.375 it is only accidental. What counts is always what is shown. From experience the three-to-four aspect is very dynamic. It helps the action on the screen come out. An exact square picture by comparison looks rather rigid or constraining. Filmtechniker- 80.219.86.238 ( talk) 11:57, 26 December 2007 (UTC)
Academy ratio is generally defined as 1.33:1. This isn't the view of 'laymen'; you'll find this definition in many authoritative sources (Ephraim Katz, Kevin Jackson and the Oxford Companion to Film, for example). —Preceding unsigned comment added by Lionel Shanks ( talk • contribs) 21:56, 27 July 2010 (UTC)