Lilo & Stitch - Widescreen OAR? (1 Viewer)

[Jan Strnad]

There can only be one correct aspect ratio.

Is there but one "correct" color of a rose?
Is there but one "correct" shape for a window?
Is there but one "correct" rendition of "White Christmas"?
Is there but one "correct" way to propel an airplane?
Is there but one "correct" way to make a cup of coffee?
Is there but one "correct" way to dress?

Life is not a road, hard and straight, but a river, constantly flowing and changing. Little in life is fixed and immutable. Begin with the thought that most of what we take to be solid matter is empty space, and adjust your expectations accordingly.

Philosopher Jan

 

[Jorge Montes]

The theater I saw it at was INSIDE the very animation studio where the film was made. In the audience were the directors, producers and a handful of animators. This was two weeks before the film was shown ANYWHERE in theaters. The aspect ratio was 1.66:1.

The way I see it, 1.66:1 was the INTENDED aspect ratio and theaters showing 1.85:1 or any other variations were matting to the best of their abilities. So 1.85:1 is the ALTERNATIVE aspect ratio.

But I'll personally take the aspect ratio the directors, animators, and producers chose to watch the movie be projected in.

Little side note: the theater in the animation studios at MGM seemed designed to show specifically 1.66:1 as the film filled up the whole theater screen.

Anyone know what the "747" ending mentioned on The Digital Bits refers to?

I remember the directors saying they weren't sure if they wanted to show the original ending on the DVD because it worried them how audience reaction would be. Most people there voiced "show it."

 

[Michael St. Clair]

Aren't these animated films shown at 1.66:1 in Europe?

If you've ever seen the pencil drawings being made in any of the documentaries, they are made on sheets of animator's paper that have two rectangles superimposed (or maybe underlayed), one at 1.66:1, then another at 1.85:1 within it.

 

[Roberto Carlo]

Simply put, a Lilo & Stitch DVD containing a transfer matting the image to a ratio between 1.66:1 and 1.85:1 would be correct. It's really THAT simple.

Thank you for the explanation. If I'm not mistaken, this argument, and the fretting over "family-friendly widescreen," is somewhat ironic since, when L&S is viewed on 16:9 capable sets we'll see it at 1.78:1.

 

[Adam Lenhardt]

when L&S is viewed on 16:9 capable sets we'll see it at 1.78:1.

No you won't, you'll see it at 1.66:1. It's a window boxed transfer, which means you'll have small black bars on the sides.

 

[Chris M]

we'll see it at 1.78:1

But that's ONLY if you haven't adjusted your overscan. I haven't yet, but do intend to. Eventually I'll clean up my overscan problem on my 16:9 TV and will have the black bars on the sides windowboxing the image. That's not a big deal, and now that I know that Disney does this with all their animation I'm happier.

I'm just wondering why they didn't compose it for 1.77:1 originally instead. Just an observation, but with widescren sets becomiing more common, I figure 1.77:1 would be the new method.

Chris.

 

[Matthew Chmiel]

I'm just wondering why they didn't compose it for 1.77:1 originally instead.

Cause the film was done using the CAPS system as said many times before in the post.

 

[Roberto Carlo]

No you won't, you'll see it at 1.66:1. It's a window boxed transfer, which means you'll have small black bars on the sides.

I have a 4:3 set that does 16:9 squeeze. When I watch a Disney 1.66:1 movie that is anamorphically enhanced I don't, if "Peter Pan: Return to Neverland" is any guide, have small black bars on the sides. It fills the entire 16:9 area. And, since my set has been ISF-calibrated, my overscan has been dealt with.

 

[Michael St. Clair]

I have a 4:3 set that does 16:9 squeeze. When I watch a Disney 1.66:1 movie that is anamorphically enhanced I don't, if "Peter Pan: Return to Neverland" is any guide, have small black bars on the sides. It fills the entire 16:9 area. And, since my set has been ISF-calibrated, my overscan has been dealt with.

I don't know anything about this Peter Pan disc, but I guarantee you that if you put a 1.66:1 windowboxed anamorphic-enhanced disc (like Army of Darkness or Tarzan), you will get slight black bars on the sides...or you have about 5% overscan.

 

[george kaplan]

A properly calibrated set usually reduces the overscan, but it does not eliminate it.

 

[Daniel J]

Why does this debate seem so simple when we're dealing with animation, yet always get blown way out of porportion when we're talking about super35 (or other open-matte transfers?)

At any rate, I can't wait for this disc!

 

[Michael St. Clair]

Those of you who want the 'theatrical' version over the version the animators and producers want for the home market...
Do you know how many DVDs of recent movies you buy have brand new, nearfield 5.1 mixes, completely omitting the original theatrical audio mix?
Have you compained about that?

 

[Jeff Kleist]

Daniel, it's quite simple. Disney animates knowing their primary market is home video. Therefore 1.66:1 is the most friendly production ratio for them to work in. They compose for this ratio with that in mind. Super35 is a gross violation of this, severely altering the intended composition. 1.66:1 is used in Europe on virtually every single film we see at 1.85:1, so it really doesn't matter