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Aspect Ratio Documentation

Discussion in 'Blu-ray and UHD' started by Bob Furmanek, Mar 20, 2012.

  1. Bob Furmanek

    Bob Furmanek Insider
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    SANGAREE and QUO VADIS (both filmed for 1.37:1) were the first two widescreen films shown in France.

    Widescreen France 9.30.53.JPG

    Sangaree-France-9.25.53.

    Widescreen France 10.21.53.JPG

    Widescreen France 11.4.53.JPG
     
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  2. Bob Furmanek

    Bob Furmanek Insider
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    Has Les Revoltes de Lomanach been released in widescreen/stereo on Blu-ray?

    France widescreen 5.26.54.JPG
     
  3. UHDvision

    UHDvision Screenwriter

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    Yes, I said here also that Bob Le Flambeur end credits scroll within a 1.66:1 area. For some reason, it's still released in 1.33:1. Actually french New Wave had some films shot in 1.37:1 on purpose. This added to the confusion about other films formats.
     
  4. Matt Hough

    Matt Hough Director
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    I'm so used to watching Quo Vadis and Julius Caesar in Academy that I can't imagine them in widescreen.
     
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  5. bujaki

    bujaki Producer

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    That's how I first saw both films. I remember the projectionist racking the projector up and down in order to keep the Spanish subtitles in frame during Quo Vadis. I saw Julius Caesar during MGM's 70mm blow-up craze, but the funny thing is that the Roman eagle and the titles were in gorgeous Technicolor, as was the End title!
     
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  6. Bob Furmanek

    Bob Furmanek Insider
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    For technical reasons which are explained at the bottom of this page on our website - http://www.3dfilmarchive.com/home/top-10-3-d-myths - all 3-D features of the 1950's required an Intermission break. Usually, the card would be silent but two studios actually had music written to accompany them: Warner Bros. and Allied Artists.

    The Intermission card for THE MAZE, with Marlin Skiles music cue, has not been part of the film since the original 3-D theatrical release in 1953. We are proud to announce that it has been restored for the upcoming 3-D Blu-ray release from Kino Lorber!

    The film was rushed through post-production and editor John Fuller mistakenly flipped the left/right images for the Intermission on the camera negative. Audiences in 1953 saw the title in reverse 3-D but restoration expert Greg Kintz has now corrected that error and for the first time, you will see it properly on the 3-D Blu-ray.

    THE MAZE is our inaugural collaboration with Martin Scorsese's Film Foundation and the Paramount Archive. This outstanding 3-D restoration would not have been possible without the vision and support of Richard Lorber and his excellent staff at Kino Lorber Studio Classics.

    Up next on the 3-D Film Archive/Kino Lorber 3-D restoration slate is SANGAREE. http://www.3dfilmarchive.com/sangaree

    For more information on THE MAZE, please visit http://www.3dfilmarchive.com/the-maze

    Maze-intermisson-Kino.
     
  7. John Hodson

    John Hodson Producer

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    So, in the UK, Eureka are set to release Marty on BD. Re the AR, they say this on Facebook:

    For this release, Marty is being presented in the 1.33:1 aspect ratio as per the master that we received from MGM. It is generally believed that Marty was shot and presented in the 1.85:1 aspect ratio, but without seeing evidence of the original 35mm print, there is no way of knowing with 100% certainty. We endeavour to release all our titles using the best quality materials presently available and that remains the case with Marty...

    ...However, our producers are still attempting to ascertain the history of Marty’s aspect ratio with MGM, and if there is any update to the presentation of the film we will make a further announcement. Our current master is in the 1.33:1 aspect ratio, but we are looking into the possibility of also including an alternate 1.85:1 presentation. However this will very much depend on what further materials (if any) are available.

    Calling Bob...
     
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  8. Mike Frezon

    Mike Frezon Moderator
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  9. Josh Steinberg

    Josh Steinberg Executive Producer
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    I'm sure Bob and this thread have a wealth of info available for a "copy and paste" -- I still remember that debate as it were yesterday. I kinda recall getting indignant that one review of the disc called director Delbert Mann's framing "pedestrian" and I sent a strongly worded letter to that publication that had the disc actually presented the film as Mann shot it, the framing would look quite good.
     
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  10. John Hodson

    John Hodson Producer

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    Thank you Mike; I've alerted Eureka to that post. The ball is now firmly in their court.
     
  11. Vic Pardo

    Vic Pardo Screenwriter

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    I'm intrigued by this movie. Has anyone seen it? Despite the Variety review, it was apparently never released in the U.S.? Why not?

    Was it ever released on home video in the U.S. with subs.? All I find on Amazon is this Euro release, PAL with no subs.:
    https://www.amazon.com/r%C3%A9volt%C3%A9s-Lomanach-Dany-Robin/dp/B006WJGUPM/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1517508356&sr=1-1&keywords=lomanach
     
  12. BleedOrange11

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    Bob, do you (or anyone else) know the correct aspect ratio for Kino's upcoming 4K remaster of A Strange Adventure (1956)? I read on your site that Republic Pictures started filming for 1.66:1 after May 15, 1953, but I don't know if they had moved on to 1.85:1 by 1956 or not.
     
  13. revgen

    revgen Screenwriter

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    According to Box Office Magazine, June 15, 1957 issue, the aspect ratio for A Strange Adventure (1956) is 1.66:1.

    [​IMG]
     
  14. Gary Couzens

    Gary Couzens Stunt Coordinator

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    I've found the aspect ratios of several BFI releases questionable, and I have questioned them in the past in my reviews for The Digital Fix. When I did that with SYMPTOMS (transferred in 1.37:1) back in 2016, I had a reply from the BFI which I added to the review and posted in here. Fair enough, that one was authorised by the film's producer. I'm not old enough to have seen SYMPTOMS in the cinema, but I still doubt anywhere in the UK showed it in Academy, It was distributed by New Realm, who weren't a company who generally put their films into arthouses, which would have been the only cinemas in the UK capable of showing it that way.

    Anyway, I recently reviewed the BFI's new Blu-ray of WHEN THE WIND BLOWS, which again is transferred in 1.37:1 which the booklet says is "the original aspect ratio". I did question this in my review, but so far have had no response from the BFI. I saw this in the cinema in 1986 and it was shown in 1.75:1 then (as most British cinemas would have shown it) and its OAR may well be 1.85:1.

    I did mention this on (ahem) another forum and some of the replies I got were:

    Why would they animate a full 4:3 picture when the top and bottom of the frame wasn't meant to be shown? (Because it would go on to be released on VHS and be shown on TV, and television sets were 4:3 then.)

    Was it a television movie given a limited cinema release? (No, it was intended for the cinema, and was a wide release. However, there were 4:3 TV movies that came out in cinemas e.g. MY BEAUTIFUL LAUNDRETTE and TRULY MADLY DEEPLY. There were also a few 35mm features in the 80s which were intended to be shown in 1.37:1. I was at University in Southampton at the time, and our cinema was used for the Southampton Film Festival showing of the Australian film GHOSTS...OF THE CIVIL DEAD, as we were the only screen in the city which could show 35mm 1.37:1.)

    The BFI have just announced an eight-film Woodfall boxset. I wonder what the ratios will be for those? All British films from the late 50s to mid 60s were 1.66:1, right? Actually, they might be - I don't know what the OARs of those films were.
     
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  15. Message #6615 of 6882 Feb 10, 2018
    Last edited: Feb 10, 2018
    Douglas R

    Douglas R Cinematographer

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    o
    Those films being: LOOK BACK IN ANGER (1959), THE ENTERTAINER (1960), SATURDAY NIGHT AND SUNDAY MORNING (1960), A TASTE OF HONEY (1961), THE LONELINESS OF THE LONG DISTANCE RUNNER (1962), TOM JONES (1963), GIRL WITH GREEN EYES (1963) and THE KNACK AND HOW TO GET IT (1965).

    Checking with Kine Weekly, LOOK BACK IN ANGER was filmed at Elstree for 1.85:1.

    THE ENTERTAINER was filmed at Shepperton for 1.85:1.

    The aspect ratio for SATURDAY NIGHT AND SUNDAY MORNING isn't given but it was previously released by the BFI at 1.66:1 which may be correct because it was shot at Twickenham where 1.66:1 seemed to be common for films up to that time.

    Many of Woodfall's films such as A TASTE OF HONEY, LONELINESS OF THE LONG DISTANCE RUNNER, TOM JONES, GIRL WITH GREEN EYES and THE KNACK AND HOW TO GET IT were all-location shoots and so Kine Weekly didn't have any studio documentation on the aspect ratio for those. Neither is there information on GIRL WITH GREEN EYES because that was filmed outside the UK in Ireland.

    img225.



    img224.
     
  16. Bob Furmanek

    Bob Furmanek Insider
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    Thank you, Doug.

    It is SO valuable to this thread to have your input. I know I speak for many when I thank you for your time, research and willingness to share. It is VERY much appreciated!

    Gary, regarding your 1.66 comment:
    Here's a chart from Doug that answers the question much better than I can.

    UK chart revised.
     
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  17. Gary Couzens

    Gary Couzens Stunt Coordinator

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    Thanks very much Doug, that's great. I'll keep this in mind when the discs arrive as I'll be reviewing that set.

    Bob, my comment about 1.66:1 was sarcastic - it obviously didn't come across that way!
     
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  18. Bob Furmanek

    Bob Furmanek Insider
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    Ah, gotcha!

    Well, any chance to share Doug's outstanding research into UK AR is worth doing!
     
  19. Bob Furmanek

    Bob Furmanek Insider
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    This January 1954 report from Variety has some uselful information on the move to widescreen cinematography in Italy.

    Italy animated 3-D feature.JPG
     
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  20. Message #6620 of 6882 Feb 23, 2018
    Last edited: Feb 24, 2018
    Bob Furmanek

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    I've had several inquiries for the intended aspect ratio on WHILE THE CITY SLEEPS.

    Here is my research.

    June 3, 1955: Principal photography starts on NEWS IS MADE AT NIGHT at California Studios. The film is planned for release by United Artists and the shooting wraps on July 8, 1955.

    By that time, the industry-wide standard for non-anamorphic widescreen had been established at 1.85:1. Fritz Lang and DP Ernest Laszlo compose for that aspect ratio.

    August 31, 1955: The title changes to WHILE THE CITY SLEEPS.

    November 1955: RKO acquires the rights from producer Bert Friedlob.

    April 11, 1956: The film is to be adapted to SuperScope for foreign release only.

    While the City Sleeps 4.12.56.JPG Superscope.JPG

    April 26, 1956: Previewed for the trades at RKO Gower studios in widescreen at 1.85:1.

    While 5.2.56.JPG

    While 5.2.JPG

    May 1956: RKO releases two features domestically and only GREAT DAY IN THE MORNING is SuperScope.

    RKO May 1956.JPG

    Great Day.JPG While 22.JPG

    While ad.JPG

    May 5, 1956: Reviewed in Boxoffice.

    While the City Sleeps 5.5.56.JPG

    May 9, 1956: World Premiere at the Stanley Theatre in Pittsburgh.

    While premiere2.JPG

    While premiere.JPG

    Summer 1956: Posters for foreign releases in SuperScope.

    While Super.JPG While Super2.JPG

    Super2.JPG

    Super3.JPG


    Here's more information from John McElwee at his excellent website: http://greenbriarpictureshows.blogspot.com/2012/03/friedlob-and-langs-tabloid-thrillers.html
     
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