History Main / WidescreenShot

11th Dec '17 9:26:13 AM DecafGrub47393
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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.
17th Sep '17 11:48:04 AM nombretomado
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[[caption-width-right:350:PeopleSitOnChairs... in Cinemascope!]]

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[[caption-width-right:350:PeopleSitOnChairs...[[caption-width-right:350:Administrivia/PeopleSitOnChairs... in Cinemascope!]]
14th Jun '17 9:31:35 PM ChiliConQueso
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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.
14th Jun '17 9:30:19 PM ChiliConQueso
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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.


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* ''Film/TheSandlot'' is full of this, and uses some ''very'' wide lenses.
14th Jun '17 9:14:10 PM ChiliConQueso
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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.
14th Jun '17 9:13:43 PM ChiliConQueso
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Added DiffLines:

* 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.
23rd May '17 9:01:59 PM Ambaryerno
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* ''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.
24th Dec '16 12:37:07 PM nombretomado
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* 1956's ''AroundTheWorldInEightyDays'' 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.

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* 1956's ''AroundTheWorldInEightyDays'' ''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.
9th Oct '16 12:13:28 PM nombretomado
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* {{Lampshaded}} in the ClassicDisneyShort "Grand Canyonscope", where Ranger Woodlore encourages a crowd of visitors to the Grand Canyon to spread out because they're in Cinemascope.

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* {{Lampshaded}} in the ClassicDisneyShort WesternAnimation/{{Classic Disney Short|s}} "Grand Canyonscope", where Ranger Woodlore encourages a crowd of visitors to the Grand Canyon to spread out because they're in Cinemascope.
25th Jun '16 11:59:46 PM Morgenthaler
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[[AC:Film]]



* {{Lampshaded}} in the ClassicDisneyShort "Grand Canyonscope", where Ranger Woodlore encourages a crowd of visitors to the Grand Canyon to spread out because they're in Cinemascope.
* ''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.

to:

* {{Lampshaded}} in the ClassicDisneyShort "Grand Canyonscope", where Ranger Woodlore encourages a crowd of visitors to the Grand Canyon to spread out because they're in Cinemascope.
* ''WillSuccessSpoilRockHunter''
''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.



* ''Series/TheBennyHillShow'' did a sketch where a widescreen film was being shown on TV with the PanAndScan being done as it was being broadcast, resulting in missing just about every action of note.
* Creator/JossWhedon deliberately put several of these in the ''{{Series/Firefly}}'' pilot, to force the studio to broadcast the show in widescreen format. The network's response was that they would broadcast the pilot [[ScrewedByTheNetwork (at the end of the series)]] in widescreen, so long as he never pulled this stunt again so they could air the rest of the series in 4:3. (A good example of how short-sighted the executives who cancelled the show were: less than a decade later, the series thrives exclusively on widescreen DVD, and all broadcasting is done in widescreen.)
* The 1973 [[UsefulNotes/HorseRacing Belmont Stakes]] managed to pull one of these off by pulling the camera as far back as humanly possible when Secretariat -- who would go on to demolish the competition with a ''31-length'' win -- rounded the far turn and began roaring down the backstretch. In fact, race caller Chic Anderson originally called the race as a 25-length victory, and it took careful analysis of that very widescreen shot to confirm the actual numbers.



** 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.
** Also, ''WebAnimation/OctocatAdventure'', which shifts from an aspect ratio of 5:4 to 16:9 once the StylisticSuck is abandoned.
* In the ''WesternAnimation/TomAndJerry'' short "Tom's Photo Finish", Tom is resting on the left side on the screen and does a WildTake where his head pops off his body and goes to the right side.
* 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:

** * 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.
** Also, ''WebAnimation/OctocatAdventure'', which shifts from an aspect ratio of 5:4 to 16:9 once the StylisticSuck is abandoned.
* In the ''WesternAnimation/TomAndJerry'' short "Tom's Photo Finish", Tom is resting on the left side on the screen and does a WildTake where his head pops off his body and goes to the right side.
* 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.
impressive.



* The 2013 MickeyMouse short ''WesternAnimation/GetAHorse'' begins with a small 1.33:1 screen showing a black-and-white cartoon. Once Mickey bursts through the screen into color, the lights turn on to reveal that the theater's stage in 2.35:1 ratio. In addition, Mickey pulls back the stage curtains, turning the 1.33:1 theater screen (with rounded corners) into a 16:9 screen (with sharp edges).
* ''WebAnimation/HomestarRunner'': For the 100th Strong Bad Email, Strong Bad extends the ends of the screen for a widescreen presentation, inadvertently revealing that Homestar Runner was standing BehindTheBlack.
* The ''WesternAnimation/GravityFalls'' episode "Not What He Seems" has several, from the whole newspaper headtitle to Stan's zero-gravity fight, but the best should be the scene in front of the portal with Stan in one side of the room and the kids and Soos on the other. If you have a 4:3 TV you would only see an empty rocky wall.


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[[AC:Live-Action TV]]
* ''Series/TheBennyHillShow'' did a sketch where a widescreen film was being shown on TV with the PanAndScan being done as it was being broadcast, resulting in missing just about every action of note.
* Creator/JossWhedon deliberately put several of these in the ''{{Series/Firefly}}'' pilot, to force the studio to broadcast the show in widescreen format. The network's response was that they would broadcast the pilot [[ScrewedByTheNetwork (at the end of the series)]] in widescreen, so long as he never pulled this stunt again so they could air the rest of the series in 4:3. (A good example of how short-sighted the executives who cancelled the show were: less than a decade later, the series thrives exclusively on widescreen DVD, and all broadcasting is done in widescreen.)

[[AC:Web Animation]]
* ''WebAnimation/OctocatAdventure'', which shifts from an aspect ratio of 5:4 to 16:9 once the StylisticSuck is abandoned.
* ''WebAnimation/HomestarRunner'': For the 100th Strong Bad Email, Strong Bad extends the ends of the screen for a widescreen presentation, inadvertently revealing that Homestar Runner was standing BehindTheBlack.

[[AC:Western Animation]]
* {{Lampshaded}} in the ClassicDisneyShort "Grand Canyonscope", where Ranger Woodlore encourages a crowd of visitors to the Grand Canyon to spread out because they're in Cinemascope.

[[AC:Other]]
* The 1973 [[UsefulNotes/HorseRacing Belmont Stakes]] managed to pull one of these off by pulling the camera as far back as humanly possible when Secretariat -- who would go on to demolish the competition with a ''31-length'' win -- rounded the far turn and began roaring down the backstretch. In fact, race caller Chic Anderson originally called the race as a 25-length victory, and it took careful analysis of that very widescreen shot to confirm the actual numbers.
* In the ''WesternAnimation/TomAndJerry'' short "Tom's Photo Finish", Tom is resting on the left side on the screen and does a WildTake where his head pops off his body and goes to the right side.
* 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.
* The 2013 MickeyMouse short ''WesternAnimation/GetAHorse'' begins with a small 1.33:1 screen showing a black-and-white cartoon. Once Mickey bursts through the screen into color, the lights turn on to reveal that the theater's stage in 2.35:1 ratio. In addition, Mickey pulls back the stage curtains, turning the 1.33:1 theater screen (with rounded corners) into a 16:9 screen (with sharp edges).
* The ''WesternAnimation/GravityFalls'' episode "Not What He Seems" has several, from the whole newspaper headtitle to Stan's zero-gravity fight, but the best should be the scene in front of the portal with Stan in one side of the room and the kids and Soos on the other. If you have a 4:3 TV you would only see an empty rocky wall.
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