Aspect Ratio - cine

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Texto referente al aspet ratio empleado para el cine
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  Framg c powerll aect the image b mean o (I the se ad shape o the rame 2 the wa the rme denes oncreen and offscreen space  the w frmng mpoe the dtce agle and height o a antage point onto the mage and 4 the w amg can moe  reation to the meenscene. Frame Dimensions and Shape We are o acctomed to the rame as a rectangle that we hold remember that t need not be one. n pantg and photograph o corse maes hae rame o ar-o e and hpes narrow rectangle oals ertcal paes een triagls and parllelogrm. n cinema the choice hs been more lmted. The primar choces inole the width o the rectanglar mage The ratio o rame wdth to rame heght  cled the aspect ato The roh dmesos o te ratio were set qte earl  the hstor o cnema b Thomas dison Dickon Lmire and other eto The proporton o the rectaglar rame were appxmatel or to three edng n aspect rato o .: I. oneteles n the lent perod some lmmakers elt that this tadard wa too limting. Abe Gance shot and projected seqence o Napoleo 97) n  ormat he called trpychs T wa a wdescree efect composed o three norma rames placed sde b sde. Gance sed the eect sometmes to sow a sngle hge expane and ometime to pt three dstnct mages sde b sde (563) n contrat te Soet drector Serge Esenstein arged or a sqare rame whch wold mak com-postions long horiontal ertica and dagon drectons eqal easbe The comng of ond  the late 920s altered the rame somewhat. Adding the ond track to the lmtrp reqred adjsting ether the hape or the e o the mage At rt ome ls were prted  an almot a sqare ormat sall bot .7  54 Bt  e erl 90s the ollwood Academ o Moton ctre Art and Sene etblhed the socalled Academy ratio o   (565 The Academ rato was tadardied throghot the world ntl the md90s For decade tdard telson screes hae alo been n te   rto bt wde-screen TVs are gradll gaining poplart Snce te mid0s a ariet o wide-scrn rto h domated mm lm-making Th mot commo ormat n ort Amerca toda i 8: I (566) The 66  rato 567) s more reqetl ed n rope t  Nort Amerc.  les cmmon rto lo wdel sed in Eropean lm  7  (568) A 2:  ratio 569 wa tdarded b te CnemaSope aamorphc proces drn the 90s The 2:  ratio wa che ed or 70mm presentatio (570) thog as lm tock he improed 70mm lmng ad projectng ha largel dappeared The mplet wa to create a wdescreen mage s b maskng t at some stage in prodction or exhibton (571) Thi makg s sall called a hard me. Al-tete man contemporr lms are shot lrame that is between  I ad .7 )  te expectato that the wll be maked whe the lm s shown 5,63 A pnic view  Npoeo jine ie  wi ee ce Frming 83  1:1 64 Pubic Eemy shows the squarish aspect ratio of early sound lms. 35: 166:  67 Une chmer en ville COMMON ASPECT RATIOS OF 35MM FILM 33 3: 1 � 6 The Rles of the Gme was shot in Academy ratio 5:1 15: 66 Me nd Yo d Eveone We Know uses a como North American ratio 68 Ls Tngo in Pris : 0 6 Anamorphic widescreen in The Vlia Oes. 7 Ghosusers. 4  5.71 T fre fro Agns Vrd Vabond w aed ding ing or pinin. 5.73 A fre fro Niol Ray CneSope  Bigger Thn Life qeezed ... 5.72 Mrin SOee Rging Bull. Noe he ropone iible  e op edge. 574 . nd  pjeed Sometmes ths reslts n ghts or sond eqpment beng sbe n the lframe mae n 57 yo can ceary see the mcrophone bobbng down nto the shot Ths wold not be seen n the theter where he top and bottom o the rame wold be masked by the apertre pae n the projecor The colored nes n or straton show a projecton ramng at 8: I. Another way to create a wdescreen mage s by sng an anamorphc process Here a speca ens sqeees he mage horontaly ether drng mng or n prntng A comparabe ens s necessary to nsqeee the mage drng pro-jecton The mage on the mm lmstrp s shown n 57, whe the mage as pro-jected on the screen  shown n 574 The anamorphc aspec rato stabshed by CnemaScope was 2: I, ntl the 970s; or technca reasons t was adjsed to 240: I Ths s the aspec rato o Panason todays most reqenty sed anamor-phc system Wdescreen cnema ether masked or anmorphc has sgncant sa e-fects The screen becomes  band or strp emphasng horonal compostons The format was ntaly assocated wh enres o spectcleWesterns trael-oes mscals hstorca epcn whch sweepn setngs were mportan B drecors qcky learned that wdescreen has ae or moe ntmte bject too Fming 185  186 CHAPTER 5  Sot: inemagrahy Te rae ro Krosawa's Sanjlr (575) sows how an naorphc process (To-ocope te Japanese eqvalent o CneaScope can e ed to create sgncnt oregrond and backgrond areas n a conned ettng In ome wdescreen copostons te seenscene daws te adence's at-tenton to only one area o te age A comon olton  to pt te portant norton slhtly o center 5.76), or even harply o center 5.77) r the d-rectr ay se the wdescreen orat to ltply ponts o nterest Many scenes n  wonTaek's Chunhya1g ll te rae wt bstle and oveent (578) 5.75 Aki Kow' Sanjum. 5.76 Sleye Ci Y/n 5.77 Jn cTin Di Hard.
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