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Redundant
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These shots maybe emphasized using an AspectRatioSwitch making the screen wider.
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* The Star Destroyer shot in ''Film/ANewHope''. The Fullscreen version still shows the Rebel cruiser as far smaller than the Star Destroyer.
to:
* The Star Destroyer shot in ''Film/ANewHope''. The Fullscreen version still shows the Rebel cruiser as far smaller than the Star Destroyer.
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* ''Film/VerticalCinema'' [[InvertedTrope inverts]] the Widescreen Shot, instead using set design to emphasize the vertical frame.
to:
* ''Film/VerticalCinema'' [[InvertedTrope inverts]] the Widescreen Shot, instead literally turns this trope on its side, using set design to and situations that emphasize the vertical frame.
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Removed obsolete wick Open Matte
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Compare {{Letterbox}}, OpenMatte, VisualCompression (all three are ways to try to fit widescreen into normal ratio), UsefulNotes/ThreeDMovie, ShootTheMoney.
to:
Compare {{Letterbox}}, OpenMatte, Open Matte, VisualCompression (all three are ways to try to fit widescreen into normal ratio), UsefulNotes/ThreeDMovie, ShootTheMoney.
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Crosswicking Open Matte
Changed line(s) 16,17 (click to see context) from:
Compare {{Letterbox}}, VisualCompression (both are ways to try to fit widescreen into normal ratio), UsefulNotes/ThreeDMovie, ShootTheMoney.
to:
Compare {{Letterbox}}, OpenMatte, VisualCompression (both (all three are ways to try to fit widescreen into normal ratio), UsefulNotes/ThreeDMovie, ShootTheMoney.
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Changed line(s) 32 (click to see context) from:
** ''Film/JurassicWorld'' was filmed in an unusual 2:1 AspectRatio. This was chosen as a compromise. Executive producer Creator/StephenSpielberg, who wanted a 1.85:1 format (same as the [[Film/JurassicPark first]] [[Film/TheLostWorldJurassicPark three]] [[Film/JurassicParkIII films]]), while director Colin Trevorrow and cinematographer John Sxhwartzman wanted a 2.39:1 format.
to:
** ''Film/JurassicWorld'' was filmed in an unusual 2:1 AspectRatio. This was chosen as a compromise. Executive producer Creator/StephenSpielberg, who Creator/StevenSpielberg wanted a 1.85:1 format (same as the [[Film/JurassicPark first]] [[Film/TheLostWorldJurassicPark three]] [[Film/JurassicParkIII films]]), while director Colin Trevorrow and cinematographer John Sxhwartzman Schwartzman wanted a 2.39:1 format.
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Alphabetized Films, added potholes to Aspect Ratio Switch (and a mention of it in the description), and added examples for Jurassic World and Vertical Cinema
These shots maybe emphasized using an AspectRatioSwitch making the screen wider.
* The Star Destroyer shot in ''Film/ANewHope''. The Fullscreen version still shows the Rebel cruiser as far smaller than the Star Destroyer.
* 1956's ''Film/{{Around the World in Eighty Days|1956}}'' begins with a small, square introduction, matching the old footage of ''Film/ATripToTheMoon'' used therein, and then the screen [[AspectRatioSwitch widens out dramatically]] to show off the 70mm format.
* 1956's ''Film/{{Around the World in Eighty Days|1956}}'' begins with a small, square introduction, matching the old footage of ''Film/ATripToTheMoon'' used therein, and then the screen [[AspectRatioSwitch widens out dramatically]] to show off the 70mm format.
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* The desert shots in ''Film/LawrenceOfArabia''
* Creator/PeterJackson is famous for these, often placing important elements at the far ends of the screen.
* Creator/WesAnderson is the exact opposite, often placing characters dead-center with huge amounts of colorful space surrounding them.
* One of the few memorable images in ''Film/PearlHarbor'' was the shot of the Japanese planes flying in from behind the camera.
* The Star Destroyer shot in ''Film/ANewHope''. The Fullscreen version still shows the Rebel cruiser as far smaller than the Star Destroyer.
* Creator/PeterJackson is famous for these, often placing important elements at the far ends of the screen.
* Creator/WesAnderson is the exact opposite, often placing characters dead-center with huge amounts of colorful space surrounding them.
* One of the few memorable images in ''Film/PearlHarbor'' was the shot of the Japanese planes flying in from behind the camera.
* The Star Destroyer shot in ''Film/ANewHope''. The Fullscreen version still shows the Rebel cruiser as far smaller than the Star Destroyer.
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* ''Film/TheSandlot'' is full of this, and uses some ''very'' wide lenses.
* Kurosawa was fond of shots of Samurai standing far apart from each other, and was referenced at the end of ''Film/KillBill part 1''.
* The final graveyard scene in ''Film/TheGoodTheBadAndTheUgly''.
* Kurosawa was fond of shots of Samurai standing far apart from each other, and was referenced at the end of ''Film/KillBill part 1''.
* The final graveyard scene in ''Film/TheGoodTheBadAndTheUgly''.
to:
* ''Film/TheSandlot'' is full ''Film/GalaxyQuest'' has an interesting version of this, and uses some ''very'' wide lenses.
* Kurosawa was fond ofthis. The opening shots of Samurai standing far apart the film is footage from each other, the ([[ShowWithinAShow fictional]]) television series, [[AspectRatioSwitch and was referenced at shown in a 4:3 aspect ratio. Then the end first quarter or so of ''Film/KillBill part 1''.
* The final graveyard scene in ''Film/TheGoodTheBadAndTheUgly''.the movie is the flat aspect ratio (1.85:1), before opening up the the scope ratio of 2.39:1 on a sprawling space vista]].
* Kurosawa was fond of
* The final graveyard scene in ''Film/TheGoodTheBadAndTheUgly''.
Changed line(s) 34,35 (click to see context) from:
* ''Film/WillSuccessSpoilRockHunter'' has a brief intermission where the Cinemascope screen shrinks down to a tiny square, for those in the audience who are accustomed to watching television. The screen can scarcely show Tony Randall in full view, and he has to crouch down to get his head in the shot.
* ''Film/TheGirlCantHelpIt'' had a similar opening trick.
* ''Film/TheGirlCantHelpIt'' had a similar opening trick.
to:
* ''Film/WillSuccessSpoilRockHunter'' has ''Franchise/JurassicPark''
** ''Film/JurassicWorld'' was filmed in an unusual 2:1 AspectRatio. This was chosen as abrief intermission where compromise. Executive producer Creator/StephenSpielberg, who wanted a 1.85:1 format (same as the Cinemascope screen shrinks down [[Film/JurassicPark first]] [[Film/TheLostWorldJurassicPark three]] [[Film/JurassicParkIII films]]), while director Colin Trevorrow and cinematographer John Sxhwartzman wanted a 2.39:1 format.
** ''Film/JurassicWorldFallenKingdom'' was filmed in Widescreen 2.39:1 aspect ratio, as director J. A. Bayona wanted to present the film as "bigger" and "more epic".
* Similar to ''Galaxy Quest'' and ''The Horse Whisperer'', ''Film/TheHindenburg1975'' starts out in standard Academy Ratio (4:3), as it opens with stock newsreels. It then [[AspectRatioSwitch suddenly switches to atiny square, for those in CinemaScope shot]] of the audience who are accustomed to watching television. The screen can scarcely show Tony Randall titular zeppelin sitting in full view, and he has to crouch down to get his head in the shot.
front of its hangar.
* ''Film/TheGirlCantHelpIt'' had a similar openingtrick.AspectRatioSwitch trick to ''Film/WillSuccessSpoilRockHunter''
* The final graveyard scene in ''Film/TheGoodTheBadAndTheUgly''.
* Kurosawa was fond of shots of Samurai standing far apart from each other, and was referenced at the end of ''Film/KillBill part 1''.
* The same thing is done in ''Film/TheHorseWhisperer'', with the [[AspectRatioSwitch widescreen not being used until the film gets to Montana]] to make the landscapes even more impressive.
** ''Film/JurassicWorld'' was filmed in an unusual 2:1 AspectRatio. This was chosen as a
** ''Film/JurassicWorldFallenKingdom'' was filmed in Widescreen 2.39:1 aspect ratio, as director J. A. Bayona wanted to present the film as "bigger" and "more epic".
* Similar to ''Galaxy Quest'' and ''The Horse Whisperer'', ''Film/TheHindenburg1975'' starts out in standard Academy Ratio (4:3), as it opens with stock newsreels. It then [[AspectRatioSwitch suddenly switches to a
* ''Film/TheGirlCantHelpIt'' had a similar opening
* The final graveyard scene in ''Film/TheGoodTheBadAndTheUgly''.
* Kurosawa was fond of shots of Samurai standing far apart from each other, and was referenced at the end of ''Film/KillBill part 1''.
* The same thing is done in ''Film/TheHorseWhisperer'', with the [[AspectRatioSwitch widescreen not being used until the film gets to Montana]] to make the landscapes even more impressive.
Changed line(s) 37 (click to see context) from:
* 1956's ''Film/{{Around the World in Eighty Days|1956}}'' begins with a small, square introduction, matching the old footage of ''Film/ATripToTheMoon'' used therein, and then the screen widens out dramatically to show off the 70mm format.
to:
* 1956's ''Film/{{Around The desert shots in ''Film/LawrenceOfArabia''
* ''Film/{{Logan}}'' makes extensive use of wide shots of theWorld landscape, where the focal point of the action (such as cars driving along a dusty road) is almost an incidental detail in Eighty Days|1956}}'' begins with the distance. ''Logan Noir'', the black and white edit of the film released on the Blu-Ray, even has a small, square introduction, matching LogoJoke using the old footage [=CinemaScope=] title card.
* One of''Film/ATripToTheMoon'' used therein, the few memorable images in ''Film/PearlHarbor'' was the shot of the Japanese planes flying in from behind the camera.
* Creator/PeterJackson is famous for these, often placing important elements at the far ends of the screen.
* ''River of No Return'', Creator/OttoPreminger's first movie in [=CinemaScope=], uses wide-screen composition effectively in two scenes: one where Kay is singing "One Silver Dollar" while Matt circles the stage around her tent, andthen one where Weston carries Kay ashore in medium shot as her abandoned suitcase floats down the screen widens out dramatically to show off river towards the 70mm format.right of the screen.
* ''Film/{{Logan}}'' makes extensive use of wide shots of the
* One of
* Creator/PeterJackson is famous for these, often placing important elements at the far ends of the screen.
* ''River of No Return'', Creator/OttoPreminger's first movie in [=CinemaScope=], uses wide-screen composition effectively in two scenes: one where Kay is singing "One Silver Dollar" while Matt circles the stage around her tent, and
Changed line(s) 39,42 (click to see context) from:
* ''Film/GalaxyQuest'' has an interesting version of this. The opening shots of the film is footage from the ([[ShowWithinAShow fictional]]) television series, and shown in a 4:3 aspect ratio. Then the first quarter or so of the movie is the flat aspect ratio (1.85:1), before opening up the the scope ratio of 2.39:1 on a sprawling space vista.
* The same thing is done in ''Film/TheHorseWhisperer'', with the widescreen not being used until the film gets to Montana to make the landscapes even more impressive.
* ''Film/ValerianAndTheCityOfAThousandPlanets'' starts off with grainy old NASA footage in 4:3, then widens out to a [=CinemaScope=] vista of the International Space Station - in perfect time with David Bowie's ''Space Oddity''.
* ''River of No Return'', Creator/OttoPreminger's first movie in [=CinemaScope=], uses wide-screen composition effectively in two scenes: one where Kay is singing "One Silver Dollar" while Matt circles the stage around her tent, and one where Weston carries Kay ashore in medium shot as her abandoned suitcase floats down the river towards the right of the screen.
* The same thing is done in ''Film/TheHorseWhisperer'', with the widescreen not being used until the film gets to Montana to make the landscapes even more impressive.
* ''Film/ValerianAndTheCityOfAThousandPlanets'' starts off with grainy old NASA footage in 4:3, then widens out to a [=CinemaScope=] vista of the International Space Station - in perfect time with David Bowie's ''Space Oddity''.
* ''River of No Return'', Creator/OttoPreminger's first movie in [=CinemaScope=], uses wide-screen composition effectively in two scenes: one where Kay is singing "One Silver Dollar" while Matt circles the stage around her tent, and one where Weston carries Kay ashore in medium shot as her abandoned suitcase floats down the river towards the right of the screen.
to:
* ''Film/GalaxyQuest'' has an interesting version ''Film/TheSandlot'' is full of this. The opening shots of the film is footage from the ([[ShowWithinAShow fictional]]) television series, this, and shown in a 4:3 aspect ratio. Then the first quarter or so of the movie is the flat aspect ratio (1.85:1), before opening up the the scope ratio of 2.39:1 on a sprawling space vista.
* The same thing is done in ''Film/TheHorseWhisperer'', with the widescreen not being used until the film gets to Montana to make the landscapes even more impressive.
* ''Film/ValerianAndTheCityOfAThousandPlanets'' starts off with grainy old NASA footage in 4:3, then widens out to a [=CinemaScope=] vista of the International Space Station - in perfect time with David Bowie's ''Space Oddity''.
* ''River of No Return'', Creator/OttoPreminger's first movie in [=CinemaScope=],uses wide-screen composition effectively in two scenes: one where Kay is singing "One Silver Dollar" while Matt circles the stage around her tent, and one where Weston carries Kay ashore in medium shot as her abandoned suitcase floats down the river towards the right of the screen.some ''very'' wide lenses.
* The same thing is done in ''Film/TheHorseWhisperer'', with the widescreen not being used until the film gets to Montana to make the landscapes even more impressive.
* ''Film/ValerianAndTheCityOfAThousandPlanets'' starts off with grainy old NASA footage in 4:3, then widens out to a [=CinemaScope=] vista of the International Space Station - in perfect time with David Bowie's ''Space Oddity''.
* ''River of No Return'', Creator/OttoPreminger's first movie in [=CinemaScope=],
Changed line(s) 44,46 (click to see context) from:
* ''Film/{{Logan}}'' makes extensive use of wide shots of the landscape, where the focal point of the action (such as cars driving along a dusty road) is almost an incidental detail in the distance. ''Logan Noir'', the black and white edit of the film released on the Blu-Ray, even has a LogoJoke using the old [=CinemaScope=] title card.
* Similar to ''Galaxy Quest'' and ''The Horse Whisperer'', ''Film/TheHindenburg1975'' starts out in standard Academy Ratio (4:3), as it opens with stock newsreels. It then suddenly switches to a [=CinemaScope=] shot of the titular zeppelin sitting in front of its hangar.
* ''Film/JurassicWorldFallenKingdom'' was filmed in Widescreen 2.39:1 aspect ratio, as director J. A. Bayona wanted to present the film as "bigger" and "more epic".
* Similar to ''Galaxy Quest'' and ''The Horse Whisperer'', ''Film/TheHindenburg1975'' starts out in standard Academy Ratio (4:3), as it opens with stock newsreels. It then suddenly switches to a [=CinemaScope=] shot of the titular zeppelin sitting in front of its hangar.
* ''Film/JurassicWorldFallenKingdom'' was filmed in Widescreen 2.39:1 aspect ratio, as director J. A. Bayona wanted to present the film as "bigger" and "more epic".
to:
* ''Film/{{Logan}}'' makes extensive use of wide shots of the landscape, where the focal point of the action (such as cars driving along a dusty road) is almost an incidental detail in the distance. ''Logan Noir'', the black and white edit of the film released on the Blu-Ray, even has a LogoJoke using the old [=CinemaScope=] title card.
* Similar to ''Galaxy Quest'' and ''The Horse Whisperer'', ''Film/TheHindenburg1975''''Film/ValerianAndTheCityOfAThousandPlanets'' starts out in standard Academy Ratio (4:3), as it opens off with stock newsreels. It grainy old NASA footage in 4:3, then suddenly switches [[AspectRatioSwitch widens out]] to a [=CinemaScope=] shot vista of the titular zeppelin sitting International Space Station - in front of its hangar.
perfect time with David Bowie's ''Space Oddity''.
*''Film/JurassicWorldFallenKingdom'' was filmed in ''Film/VerticalCinema'' [[InvertedTrope inverts]] the Widescreen 2.39:1 aspect ratio, as director J. A. Bayona wanted Shot, instead using set design to present emphasize the film as "bigger" vertical frame.
* Creator/WesAnderson is the exact opposite, often placing characters dead-center with huge amounts of colorful space surrounding them.
* ''Film/WillSuccessSpoilRockHunter'' has a brief intermission where [[AspectRatioSwitch the Cinemascope screen shrinks down to a tiny square]], for those in the audience who are accustomed to watching television. The screen can scarcely show Tony Randall in full view, and"more epic".he has to crouch down to get his head in the shot.
* Similar to ''Galaxy Quest'' and ''The Horse Whisperer'', ''Film/TheHindenburg1975''
*
* Creator/WesAnderson is the exact opposite, often placing characters dead-center with huge amounts of colorful space surrounding them.
* ''Film/WillSuccessSpoilRockHunter'' has a brief intermission where [[AspectRatioSwitch the Cinemascope screen shrinks down to a tiny square]], for those in the audience who are accustomed to watching television. The screen can scarcely show Tony Randall in full view, and
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None
Changed line(s) 10,13 (click to see context) from:
One definite gimmick form of this is showing a shot in normal screen ratio, and then having it spread out to widescreen.
Film studios also marketed their respective widescreen formats in the early days (since they each used tech that could be patented), even if most were essentially the same result (a wider camera and screen), except for Cinerama (which utilized three synchronized projectors and a deeply curved screen).
Film studios also marketed their respective widescreen formats in the early days (since they each used tech that could be patented), even if most were essentially the same result (a wider camera and screen), except for Cinerama (which utilized three synchronized projectors and a deeply curved screen).
to:
One definite gimmick form of this is showing a shot in normal screen ratio, and then having it [[AspectRatioSwitch spread out to widescreen.
widescreen]].
Film studios also marketed their respective widescreen formats in the early days (since they each used tech that could be patented), even if most were essentially the same result (a wider camera and screen), except for [[Film/{{Napoleon}} Polyvision]] and Cinerama(which (both of which utilized three synchronized projectors and projectors, the latter also using a deeply curved screen).
Film studios also marketed their respective widescreen formats in the early days (since they each used tech that could be patented), even if most were essentially the same result (a wider camera and screen), except for [[Film/{{Napoleon}} Polyvision]] and Cinerama
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Corrected information.
Changed line(s) 46 (click to see context) from:
* ''Film/JurassicWorld:FallenKingdom'' was filmed in Widescreen 2.39:1 aspect ratio, as director J. A. Bayona wanted to present the film as "bigger" and "more epic".
to:
* ''Film/JurassicWorld:FallenKingdom'' ''Film/JurassicWorldFallenKingdom'' was filmed in Widescreen 2.39:1 aspect ratio, as director J. A. Bayona wanted to present the film as "bigger" and "more epic".
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Fixed typo.
Changed line(s) 46 (click to see context) from:
* ''Film / Jurassic World: Fallen Kingdom'' was filmed in Widescreen 2.39:1 aspect ratio, as director J. A. Bayona wanted to present the film as "bigger" and "more epic".
to:
* ''Film / Jurassic World: Fallen Kingdom'' ''Film/JurassicWorld:FallenKingdom'' was filmed in Widescreen 2.39:1 aspect ratio, as director J. A. Bayona wanted to present the film as "bigger" and "more epic".
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Fixed typo.
Changed line(s) 46 (click to see context) from:
* ''Film/Jurassic World: Fallen Kingdom'' was filmed in Widescreen 2.39:1 aspect ratio, as director J. A. Bayona wanted to present the film as "bigger" and "more epic".
to:
* ''Film/Jurassic ''Film / Jurassic World: Fallen Kingdom'' was filmed in Widescreen 2.39:1 aspect ratio, as director J. A. Bayona wanted to present the film as "bigger" and "more epic".
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Added further information.
Changed line(s) 39 (click to see context) from:
* ''Film/GalaxyQuest'' has an interesting version of this. The opening shots of the film is footage from the ([[ShowWithinAShow fictional]]) television series, and shown in a 4:3 aspect ratio. Then the first quarter or so of the movie is the flat aspect ratio (1.85:1), before opening up the the scope ratio of 2.35:1 on a sprawling space vista.
to:
* ''Film/GalaxyQuest'' has an interesting version of this. The opening shots of the film is footage from the ([[ShowWithinAShow fictional]]) television series, and shown in a 4:3 aspect ratio. Then the first quarter or so of the movie is the flat aspect ratio (1.85:1), before opening up the the scope ratio of 2.35:1 39:1 on a sprawling space vista.
Added DiffLines:
* ''Film/Jurassic World: Fallen Kingdom'' was filmed in Widescreen 2.39:1 aspect ratio, as director J. A. Bayona wanted to present the film as "bigger" and "more epic".
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None
Changed line(s) 39 (click to see context) from:
* ''Film/GalaxyQuest'' has an interesting version of this. The opening shots of the film is footage from the (fictional) television series, and shown in a 4:3 aspect ratio. Then the first quarter or so of the movie is the flat aspect ratio (1.85:1), before opening up the the scope ratio of 2.35:1 on a sprawling space vista.
to:
* ''Film/GalaxyQuest'' has an interesting version of this. The opening shots of the film is footage from the (fictional) ([[ShowWithinAShow fictional]]) television series, and shown in a 4:3 aspect ratio. Then the first quarter or so of the movie is the flat aspect ratio (1.85:1), before opening up the the scope ratio of 2.35:1 on a sprawling space vista.
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None
Changed line(s) 6,7 (click to see context) from:
Later on directors such as Creator/DavidLean and Creator/AkiraKurosawa used the format for more artistic shots, to the point where their widescreen films actually lose a lot in being cropped to 4:3 ratio.
to:
Later on directors such as Creator/DavidLean and Creator/AkiraKurosawa used the format for more artistic shots, to the point where their widescreen films actually lose a lot in being [[PanAndScan cropped to 4:3 ratio.
ratio]].
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None
Added DiffLines:
* Some episodes of ''Series/{{Cheers}}'', when remastered for high definition and the 16:9 aspect ratio, reveal the curtain on the left side of the of the bar set, which was not visible when episodes originally aired in 4:3.
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Changed line(s) 65 (click to see context) from:
* On occasion, Disney movies will start in one aspect ratio, then switch to a wider one once the story takes off. ''Disney/BrotherBear'' and ''Film/{{Enchanted}}'' begin in a 1.78:1 ratio, while ''Film/OzTheGreatAndPowerful'' begins in the 1.33:1 Academy Ratio (as a homage to the classic MGM Film). The intended effect is lost somewhat on home video as these opening ratios are windowboxed into the 2.35:1 frames the movies eventually expand to.
to:
* On occasion, Disney movies will start in one aspect ratio, then switch to a wider one once the story takes off. ''Disney/BrotherBear'' ''WesternAnimation/BrotherBear'' and ''Film/{{Enchanted}}'' begin in a 1.78:1 ratio, while ''Film/OzTheGreatAndPowerful'' begins in the 1.33:1 Academy Ratio (as a homage to the classic MGM Film). The intended effect is lost somewhat on home video as these opening ratios are windowboxed into the 2.35:1 frames the movies eventually expand to.
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None
Added DiffLines:
* Widescreen actually dates to the beginning of the sound era, where a few movies such as ''Film/TheBigTrail'' were made in the widescreen format. But all of those movies were bombs, and Hollywood reverted back to 4:3 for another 20 years, until widescreen came back as a way to lure viewers back from the new medium of television.
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None
* ''Film/ValerianAndTheCityOfAThousandPlanets'' starts off with grainy old NASA footage in 4:3, then widens out to a [=CinemaScope=] vista of the International Space Station - in perfect time with David Bowie's ''Space Oddity''.
Changed line(s) 42,43 (click to see context) from:
* ''Film/{{Logan}}'' is filmed entirely in 2.35:1 ratio, and makes extensive use of wide shots of the landscape, where the focal point of the action (such as cars driving along a dusty road) is almost an incidental detail in the distance. ''Logan Noir'', the black and white edit of the film released on the Blu-Ray, even has a LogoJoke using the old [=CinemaScope=] title card.
* Similar to ''Galaxy Quest'' and ''The Horse Whisperer'', ''Film/TheHindenburg1975'' starts out in standard Academy Ratio (4:3), as it opens with stock newsreels. It then suddenly switches to a Cinemascope shot of the titular zeppelin sitting in front of its hangar.
* Similar to ''Galaxy Quest'' and ''The Horse Whisperer'', ''Film/TheHindenburg1975'' starts out in standard Academy Ratio (4:3), as it opens with stock newsreels. It then suddenly switches to a Cinemascope shot of the titular zeppelin sitting in front of its hangar.
to:
* ''Film/{{Logan}}'' is filmed entirely in 2.35:1 ratio, and makes extensive use of wide shots of the landscape, where the focal point of the action (such as cars driving along a dusty road) is almost an incidental detail in the distance. ''Logan Noir'', the black and white edit of the film released on the Blu-Ray, even has a LogoJoke using the old [=CinemaScope=] title card.
* Similar to ''Galaxy Quest'' and ''The Horse Whisperer'', ''Film/TheHindenburg1975'' starts out in standard Academy Ratio (4:3), as it opens with stock newsreels. It then suddenly switches to aCinemascope [=CinemaScope=] shot of the titular zeppelin sitting in front of its hangar.
* Similar to ''Galaxy Quest'' and ''The Horse Whisperer'', ''Film/TheHindenburg1975'' starts out in standard Academy Ratio (4:3), as it opens with stock newsreels. It then suddenly switches to a
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add / entry pimp
Added DiffLines:
* Similar to ''Galaxy Quest'' and ''The Horse Whisperer'', ''Film/TheHindenburg1975'' starts out in standard Academy Ratio (4:3), as it opens with stock newsreels. It then suddenly switches to a Cinemascope shot of the titular zeppelin sitting in front of its hangar.
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This is correcting a joke that's not pretending to be accurate.
Changed line(s) 2,3 (click to see context) from:
[[caption-width-right:350:Administrivia/PeopleSitOnChairs... in [=CinemaScope=]![[note]]The actual aspect ratio of the movie is 1:85:1.[[/note]]]]
to:
[[caption-width-right:350:Administrivia/PeopleSitOnChairs... in [=CinemaScope=]![[note]]The actual aspect ratio of the movie is 1:85:1.[[/note]]]]
[=CinemaScope=]!]]
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Changed line(s) 2,3 (click to see context) from:
[[caption-width-right:350:Administrivia/PeopleSitOnChairs... in [=CinemaScope=]![[note]]The actual AspectRatio of the movie is 1:85:1.[[/note]]]]
to:
[[caption-width-right:350:Administrivia/PeopleSitOnChairs... in [=CinemaScope=]![[note]]The actual AspectRatio aspect ratio of the movie is 1:85:1.[[/note]]]]
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None
Changed line(s) 2,3 (click to see context) from:
[[caption-width-right:350:Administrivia/PeopleSitOnChairs... in Cinemascope![[note]]The actual AspectRatio of the movie is 1:85:1.[[/note]]]]
to:
[[caption-width-right:350:Administrivia/PeopleSitOnChairs... in Cinemascope![[note]]The [=CinemaScope=]![[note]]The actual AspectRatio of the movie is 1:85:1.[[/note]]]]
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Changed line(s) 2,3 (click to see context) from:
[[caption-width-right:350:Administrivia/PeopleSitOnChairs... in Cinemascope!]]
to:
[[caption-width-right:350:Administrivia/PeopleSitOnChairs... in Cinemascope!]]
Cinemascope![[note]]The actual AspectRatio of the movie is 1:85:1.[[/note]]]]
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Changed line(s) 27 (click to see context) from:
* The Star Destroyer shot in ''Film/ANewHope''. The Fullscreen version manages to preserve this scene's wonder.
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* The Star Destroyer shot in ''Film/ANewHope''. The Fullscreen version manages to preserve this scene's wonder.still shows the Rebel cruiser as far smaller than the Star Destroyer.
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* The Star Destroyer shot in ''Film/ANewHope''.
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* The Star Destroyer shot in ''Film/ANewHope''. The Fullscreen version manages to preserve this scene's wonder.
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[[caption-width-right:350:PeopleSitOnChairs... in Cinemascope!]]
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* Creator/WesAnderson is the exact opposite, often placing characters dead-center with huge amounts of space surrounding them.
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* Creator/WesAnderson is the exact opposite, often placing characters dead-center with huge amounts of colorful space surrounding them.
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* Creator/PeterJackson is famous for these, often placing important elements at the far ends of the screen.
* Creator/WesAnderson is the exact opposite, often placing characters dead-center with huge amounts of space surrounding them.
* Creator/WesAnderson is the exact opposite, often placing characters dead-center with huge amounts of space surrounding them.
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* ''Film/TheSandlot'' is full of this, and uses some ''very'' wide lenses.
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* In the 1996 film ''Film/Evita'', director Alan Parker milks the widescreen format for absolutely everything it's worth. The filmmakers even managed to get their hands on the ''widest-angle anamorphic lens ever made'' in order to fit everything in.
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* In the 1996 film ''Film/Evita'', ''Film/{{Evita}}'', director Alan Parker milks the widescreen format for absolutely everything it's worth. The filmmakers even managed to get their hands on the ''widest-angle anamorphic lens ever made'' in order to fit everything in.
