TAILIEUCHUNG - TECHNICAL BULLETIN Understanding Aspect Ratios

Some genres have specific stylistic characteristics or employ techniques that are a key way of generating suspense or fear. Point-of-view is one of the principal techniques of the horror genre (for example, the sequence of the serial killer stalking Jodie Foster in Silence of the Lambs in Lesson 1). This extract from Halloween is one of the most famous examples of the use of point-of-view in film with the movie beginning with the point-of-view of an anonymous murderer as he stalks and kills a victim and then the camera draws back at the end of the scene to deliver. | TECHNICAL BULLETIN Understanding Aspect Ratios CinemaSource Technical Bulletins. Copyright 2001 by CinemaSource Inc. All rights reserved. Printed in the United States of America. No part of this bulletin may be used or reproduced in any manner whatsoever without written permission except in brief quotations embodied in critical reviews. CinemaSource is a registered federal trademark. For information contact The CinemaSource Press 18 Denbow Rd. Durham NH 03824 Understanding Aspect Ratios The first thing we want to do is demystify this phrase. An aspect ratio is simply a numerical way of describing a rectangular shape. The aspect ratio of your standard television for example is 4 3. This means that the picture is 4 units wide and 3 units high. Interestingly professional cinematographers tend to prefer a single number to describe screen shapes and reduce the familiar 4 3 television ratio down to 1 or just . This is most likely because they deal with a vastly larger number of screen shapes than television people do and out of necessity long ago jettisoned bulky fractional descriptions. The History Of Cinema Aspect Ratios The original aspect ratio utilized by the motion picture industry was 4 3 and according to historical accounts was decided in the late 19th century by Thomas Edison while he was working with one of his chief assistants William . Dickson. As the story goes Dickson was working with a new 70MM celluloid-based film stock supplied by photographic entrepreneur George Eastman. Because the 70MM format was considered unnecessarily wasteful by Edison he asked Dickson to cut it down into smaller strips. When Dickson asked Edison what shape he wanted imaged on these strips Edison replied about like this and held his fingers apart in the shape of a rectangle with approximately a 4 3 aspect ratio. Over the years there has been quite a bit of conjecture about what Edison had in mind when he dictated this shape. Theories vary from from Euclid s famous .

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