What aspect ratio was "The Shining" shot in?

Discussion in 'Archived Threads 2001-2004' started by Michael Silla, Nov 1, 2002.

  1. Michael Silla

    Michael Silla Second Unit

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    Rented "The Shining" last night. Loved it - my second time seeing the film. The DVD is in 1.33:1 (Full frame) - deos anyone know if it was shot in 2.35:1?

    Reason being, this film absolutely CRIES OUT for a wide aspect ratio. Some of the shots of the Colorado wilderness are simply gorgeous. Hopefully, a second DVD release is on the horizon?

    Apologies if this has been recently covered in another thread.

    Michael
     
  2. Jonathan Perregaux

    Jonathan Perregaux Screenwriter

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    As with several Kubrick films, The Shining was shot in Academy Standard aspect ratio and then matted for theatrical presentations. What you are seeing on the DVD has not been significantly altered from the camera negative.
    From IMDB.com:
    Technical Specifications for
    Shining, The (1980)
    Camera
    Arriflex Cameras
    Film negative format (mm/video inches)
    35 mm
    Cinematographic process
    Spherical
    Printed film format
    35 mm
    Aspect ratio
    1.37 : 1 (negative ratio)
    1.66 : 1 (intended ratio)
     
  3. Jerry Gracia

    Jerry Gracia Supporting Actor

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    It was shot to fit the nice'ol picture box at home. [​IMG]
    Seriously though, 4:3 is the correct aspect ratio according to everything I've read in the past.
     
  4. Rich Malloy

    Rich Malloy Producer

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    2.35:1???? Ack!

    But if you're really adamant about this, you could construct some mattes to attach to your set, allowing you to "set" the aspect ratio however you prefer. I recommend using mattes anyway (particularly if you have a rear projector).
     
  5. Christ Reynolds

    Christ Reynolds Producer

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    kubrick preferred the 4:3 aspect ratio. see eyes wide shut, the shining....i'm thankful we have an anamorphic version 2001, it would be a shame to watch that in 4:3.

    CJ
     
  6. Kevin M

    Kevin M Producer

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    Kubrick only "preferred" 4:3 because it didn't compromise his frame composition when transfered to standard television....of course after the introduction of home video and the gradual inroads of letterboxing starting (in earnest) in the 80's you would think he could have relaxed a bit on his framing concerns by the time Full Metal Jacket or certainly Eyes Wide Shut came along.
     
  7. Craig_T

    Craig_T Second Unit

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    This movie would be destroyed and downright unwatchable at a 2.35:1 aspect ratio.
     
  8. Nate Anderson

    Nate Anderson Screenwriter

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    David Von Pein Producer

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    Vic_T Stunt Coordinator

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  11. Jean-Michel

    Jean-Michel Supporting Actor

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    I suspect the TV explanation has at least a grain of truth to it, but it's pretty obvious the guy was fond of nonstandard ARs. Dr. Strangelove switched between two ratios (1.33:1 and 1.66:1), which is fairly uncommon (although The Crocodile Hunter movie did it, thereby proving its director to be the equal of Kubrick in every way), and his preferred framing for A Clockwork Orange and Barry Lyndon appears to have been 1.55:1 (since that's what the LDs and DVDs were framed at).
     
  12. Damin J Toell

    Damin J Toell Producer

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  13. Jason Whyte

    Jason Whyte Screenwriter

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    "He started using 4:3 because of what that forced ratio did to 2001. It's terrible!"

    Even worse, you should see the pan-and-scan version of the 35mm print transfer of this film! The image is cropped on the sides AND on the top and bottom of the screen! Nothing better than seeing Dr. Heywood Floyd arrive on the space station and as he's talking to the receptionist, the top frame line is merely skimming half his eyes!!

    As for the Shining, I've always looked at it as approved for 1.85:1 theatrically, 1.33:1 on video.

    Jason
     
  14. BarryS

    BarryS Second Unit

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  15. Peter Apruzzese

    Peter Apruzzese Producer

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    Barry,

    I think the poster meant what happened to 2001 when it was broadcast (pan & scan) on television.
     

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