| ----- | |
| --- 183081712 | |
| What is the most kino aspect ratio? | |
| --- 183081858 | |
| >>183081712 (OP) | |
| 1.85:1 | |
| --- 183081886 | |
| >>183081712 (OP) | |
| --- 183081912 | |
| 1:1 | |
| --- 183081944 | |
| >>183081886 | |
| disappointing tits | |
| --- 183081945 | |
| >>183081712 (OP) | |
| Whichever one shows the most of the movie, Zach Snyder had the right idea with the Justice League movie, but maybe that was too far. Anything narrower than 16:9 should be genuinely outlawed. | |
| --- 183081950 | |
| >>183081712 (OP) | |
| 4:3 | |
| --- 183082007 | |
| >>183081712 (OP) | |
| 4:3 seems more logical for a film given the size of theatre screens. Ultra wide has never benefited any film as it makes humans look small and insignificant. | |
| --- 183082049 | |
| >>183082043 | |
| kek | |
| --- 183082134 | |
| >>183082043 | |
| 16:9 sisters, it's over... | |
| --- 183082165 | |
| >>183081994 | |
| AHHHHHHHHH WHY DID THEY DO IT | |
| --- 183082194 | |
| >>183081712 (OP) | |
| Whatever shows the most of the frame | |
| /thread | |
| --- 183082288 | |
| >>183082279 | |
| AHHHHHHHHHHHHHH | |
| --- 183082327 | |
| >>183082043 | |
| doesn't count since it wasn't shot with the intention of being viewed in 16:9 | |
| --- 183082341 | |
| 4:3 forever | |
| --- 183082355 | |
| >>183082218 | |
| --- 183082359 | |
| >>183082327 | |
| Then why did THEY do it? Thank god we have 4:3 HD now | |
| --- 183082410 | |
| >>183082355 | |
| --- 183082426 | |
| >>183081950 | |
| >>183082007 | |
| >>183082341 | |
| You can watch your soap operas and your sitcoms but leave movies to grown ups. | |
| --- 183082437 | |
| >>183082426 | |
| Pleb | |
| --- 183082451 | |
| >>183082043 | |
| No fucking way | |
| --- 183082459 | |
| >>183082426 | |
| Everyone can smell that this post was made just to get attention, anon. This whole thread can smell your breath and know you're just talking shit. | |
| --- 183082489 | |
| >>183082451 | |
| Yep, never watch old TV shows in 16:9, you're missing half the screen | |
| --- 183082622 | |
| >>183082437 | |
| You're watching a square box lmao. A ratio for a tiny old-fashioned tv. | |
| --- 183082630 | |
| BRAVO DISNEY | |
| --- 183082649 | |
| >>183082630 | |
| Atleast they fixed it finally | |
| --- 183082714 | |
| >>183082568 | |
| Holy shit I'm fully convinced now. Squares truly are superior. | |
| --- 183082732 | |
| >>183081886 | |
| is this the only known example of missing tits due to wide screen formatting? | |
| --- 183082752 | |
| >>183082732 | |
| see>>183081994 | |
| --- 183082768 | |
| >>183082649 | |
| They didnt | |
| --- 183082791 | |
| >>183082768 | |
| I mean they literally did | |
| --- 183082804 | |
| >>183082791 | |
| debunked | |
| --- 183082815 | |
| >>183082804 | |
| Ok schizo | |
| --- 183082823 | |
| >>183082732 | |
| Also 5th element | |
| --- 183082860 | |
| >>183082815 | |
| Kiss me | |
| --- 183082867 | |
| >>183082823 | |
| post scene | |
| --- 183082915 | |
| >>183082664 | |
| It's weird how common it is for these foreign TV channels to get open matte/full screen versions of stuff | |
| --- 183082928 | |
| >>183082804 | |
| d+ now has an option to view the uncropped one, maybe you're too dumb do figure it out | |
| --- 183083038 | |
| >>183082359 | |
| A lot of normal people seem to get nervous breakdowns from seeing black bars, especially if they're on the sides. At least with some 4:3 shows reframed to 16:9 there's often a bit of extra on the sides so it doesn't cut off as much as it could. | |
| --- 183083049 | |
| 4:3 stretched to 16:9 on a hotel TV | |
| --- 183083104 | |
| >>183081712 (OP) | |
| Whatever the film was originally shot to be shown in. Nowadays they usually hop between aspect ratios a dozen times per movie anyways. | |
| --- 183083136 | |
| >>183082998 | |
| Jesus, those are the best niples I've ever seen on film. God bless her | |
| --- 183083173 | |
| >>183083038 | |
| >A lot of normal people seem to get nervous breakdowns from seeing black bars, especially if they're on the sides | |
| normies deserves nothing | |
| --- 183083247 | |
| >>183081712 (OP) | |
| 4:20 and 6:9 | |
| --- 183083385 | |
| open matte, of course | |
| --- 183083393 | |
| >>183082915 | |
| All that happens is that someone at the production company seeks a request for a 4:3 video and gives them the only one they have. | |
| --- 183083435 | |
| >>183082998 | |
| Immaculately large nipples. Could do with a lot of biting. Theyre probably even larger and well seasoned now, after raising children. | |
| --- 183083451 | |
| >>183083031 | |
| --- 183083558 | |
| >>183083451 | |
| kino | |
| --- 183084081 | |
| >>183082732 | |
| Carrie cuts out Sissy Spacek's bush. Open matte is available only to laserdisc Chads. | |
| Often the film is shot with the intention of cropping which makes the open matte versions less authentic to the directors' visions, but with 100GB blurays being so cheap these days there's no reason not to include both versions for those interested, especially since so few modern movies are in 16:9 despite that being the standard TV size. | |
| --- 183084134 | |
| >>183084081 | |
| surely there is a private tracker or any other online archive of these right? | |
| --- 183084198 | |
| >>183082915 | |
| There were still a lot of 4:3 TVs in use during the 2000s, and many TV stations took forever to make the jump to 16:9 (some doing 14:9 as a stopgap for a while), so preparing "full screen" versions made sense. Nowadays I would guess the primary driving factor for doing 16:9 open matte versions is IMAX, with broadcaster/streamers added in as a bonus. | |
| --- 183084223 | |
| >>183081944 | |
| sixteen year old me still jerked off to them in bloodrayne | |
| --- 183084273 | |
| >>183081712 (OP) | |
| The one intended by the director. How to achieve this at home? | |
| 1. These things go in a 'bat cave'. | |
| 2. Buy/make an oversized projector screen. You want a good amount of white space on all four sides. A white wall can work if it's sanded flat and painted. | |
| 3. Purchase a projector with decent black levels (A 2nd hand 1080p JVC does the job). | |
| The area around the projected image creates a soft border for all aspect ratios. | |
| --- 183084325 | |
| >>183082509 | |
| uhhh raimi a little homophobic there don't you think? and is the nazi logo on spiderman really necessary? | |
| --- 183084339 | |
| >>183084081 | |
| There's nothing more confusing for retarded publishers than video formatting, beside color fidelity for dvd and blu-ray | |
| --- 183084363 | |
| >>183084081 | |
| so wait. I thought they would have shot this on 35mm, did they shoot in on 70mm film or what? | |
| --- 183084367 | |
| Whatever the director's real artistic vision is. | |
| Unless there's boobs or butt being cropped out, then that one. | |
| --- 183084408 | |
| Snyder was right that about 4:3 being the superior ratio | |
| --- 183084497 | |
| >>183084408 | |
| This is why I said real artistic vision. Hack Snyder doesn't know how to use a frame and his """choice""" for 4:3 full frame IMAX in his Justice League Cut is a fucking joke. | |
| --- 183084704 | |
| >>183082732 | |
| r/openmatte | |
| --- 183084706 | |
| >>183082568 | |
| Why do the colors look better on the 4:3? | |
| --- 183084731 | |
| >>183084706 | |
| SOUL | |
| --- 183084776 | |
| >>183084704 | |
| >openmatte | |
| it's dead :( | |
| --- 183084812 | |
| >>183082622 | |
| Isn't IMAX close to 4:3? | |
| --- 183084851 | |
| >>183084363 | |
| Standard 35mm film is close to 4:3 in aspect. Widescreen in movies is usually achieved either by cropping the top and bottom, in which case open matte is possible, or by using anamorphic lenses, in which case open matte is not possible. | |
| --- 183084882 | |
| >>183084776 | |
| oops i meant r/openmatteplot | |
| --- 183084922 | |
| >>183081712 (OP) | |
| Whatever it is, it doesn't have black borders encoded into it because it was done by someone's retarded nephew. | |
| Special mention to netflix for putting black bars on all sides. | |
| --- 183084953 | |
| >>183081712 (OP) | |
| 1:1 like out god Snyder used in the greatest cinematic masterpiece ever created - The Justice League. | |
| --- 183085001 | |
| >>183084953 | |
| It was 4:3, not 1:1 | |
| --- 183085181 | |
| the wider it is the more kino | |
| --- 183085205 | |
| >>183085181 | |
| Zoomie take | |
| --- 183085225 | |
| This shot isn't possible in wider aspects ratios, like 16:9 | |
| --- 183085296 | |
| >>183081994 | |
| Yeah some times boom mics and stuff are visible but most of the time these open mattes look way better. | |
| What's the deal? | |
| --- 183085334 | |
| I'd like 4:3 if TVs were made for it like they used to be | |
| --- 183085356 | |
| >>183084812 | |
| IMAX has two projection ratios, 1.43:1 and 1.90:1. Movies that weren't shot on IMAX are typically shown using the latter, while for example Nolan movies with select scenes shot on IMAX cameras will have those opened up to the former. This is only in theaters though, on 4K/Blu-ray the scenes are only opened up to 16:9, since going further would decrease the width and reduce the impact of the change. | |
| --- 183085405 | |
| >>183081712 (OP) | |
| 21:9 | |
| --- 183085427 | |
| >>183084851 | |
| Also keep in mind some movies are hard matted onto the film, see pic related. In this case a 4:3 release would still be cropped. | |
| This page has a good set of examples: | |
| https://www.widescreen.org/aspect_ratios.shtml | |
| --- 183085454 | |
| >>183085334 | |
| You can fill the black bars and vastly improve the movie for the family you forced to watch the movie with you | |
| --- 183085497 | |
| >>183085205 | |
| the thread says most kino not most television | |
| --- 183085507 | |
| 4:3 is how hunters view the world | |
| 16:9 is how prey views the world | |
| --- 183085555 | |
| >>183085454 | |
| Kek | |
| --- 183085768 | |
| >>183082455 | |
| >>183082473 | |
| >>183082509 | |
| >>183082533 | |
| >>183082548 | |
| >>183082568 | |
| >>183082664 | |
| This is so weird | |
| After seeing this movie literally thousands of times as a kid in 16:9, to see more of the shots and instantly recognizing there’s something wrong with the shot, even if it is just more of it | |
| Very nice. Is there a way to watch the whole thing with the original mattes? | |
| --- 183085792 | |
| >>183085768 | |
| You can find a download link for the open matte in the archieves | |
| --- 183085901 | |
| >>183085454 | |
| Disney sort of did this with some of their classics on Blu-ray, adding optional decorative borders so people wouldn't have panic attacks over the black bars. | |
| --- 183086067 | |
| >>183085901 | |
| that's kind of a good idea. | |
| --- 183086102 | |
| 2.35:1 was always my favorite, and I like 16:9 because it’s everywhere, but I’ve warmed up to more square ARs watching old movies and newer movies that use them. I could not imagine a movie like Spencer with a wider AR, it would ruin it. | |
| --- 183086135 | |
| >>183086067 | |
| Unless you have an OLED screen. | |
| --- 183086181 | |
| >>183085427 | |
| Here's a webm example from a 35mm print. | |
| The Nightmare Before Christmas is ~98% hard matted, with a few open matte shots like the 2nd and 3rd in this webm. | |
| The old 4:3 versions are probably open matte for those shots only, with 98% being pan & scan shite. | |
| --- 183086213 | |
| >>183086135 | |
| why? what's the issue with the oled screen? | |
| --- 183086255 | |
| >>183085334 | |
| You can watch any movie and block the edges so you only see a small, square box. Here's your 4:3. | |
| --- 183086282 | |
| >>183086213 | |
| The static image will get burned in (image retention). | |
| It was a huge issue a few years ago when OLED tvs were new. | |
| Its not as bad now but can still occur sometimes. | |
| --- 183086283 | |
| >>183086181 | |
| When dealing with a raw 35mm print or just raw analog, how do they fix/remove the scratches and dust within the celluloid that you can see for example in there? | |
| Did they really go frame by frame and fix it in the celluloid? | |
| --- 183086344 | |
| >>183081886 | |
| >cuts out literally most of the shot | |
| Wtf | |
| --- 183086374 | |
| >>183086282 | |
| I thought that was the issue for plasma screens | |
| --- 183086385 | |
| >>183085334 | |
| My tv is oled and in a dark area so I don't even noticed the black bars | |
| --- 183086392 | |
| >>183086255 | |
| Shut the fuck up | |
| --- 183086417 | |
| >>183086374 | |
| Yes and it's still a problem with OLED. | |
| --- 183086448 | |
| >>183086417 | |
| gotcha | |
| --- 183086571 | |
| Full open matte, open gate, full film, whatever ratio the largest amount of picture is in. A movie or TV show has never been improved by cutting away any part of the image. | |
| --- 183086618 | |
| >>183086283 | |
| Dust can be removed from the film physically with an exacto knife, they used to do this more often in the old days. Quite risky. | |
| These days the usual method is to use automated software, a form of DVNR. Problem is, you can't trust the software to perfectly differentiate between intended footage and debris/scatches. | |
| Best way is to use the software, and manually fix the errors the software made afterwards. A lot of cartoon restorations are awful specifically because they tend to skip that crucial last step. | |
| --- 183086723 | |
| >>183081712 (OP) | |
| 2:1 Univisium | |
| --- 183086819 | |
| >>183086571 | |
| But then again, if the director uses the full film picture but he intends to hard matte it afterwards I prefer to see his preferred version. Its all about intention. | |
| --- 183086937 | |
| >>183086283 | |
| Official film restorations are typically scanned from the original negative if available, which will have a lot less damage than a film print that ran in theaters like that example. Aside from physically blowing off dirt and dust you can also apply a fluid to the film while scanning, and the fluid will fill in the microscopic scratches and can sometimes reduce their visibility. | |
| Regardless, the vast majority of the work is done digitally after the scan. There have been various specialized digital restoration tools over the years, both automatic and semi-automatic, but yes, worst case you will have to paint over a bunch of stuff manually frame-by-frame. I'm not sure what the situation is like now with AI/neural networks, if there are any revolutionary new film restoration tools using that, since it could be a great use of the technology as long as you combined it with manual supervision. | |
| --- 183087086 | |
| >>183081994 | |
| i don't have that exact shot on hand, but this is i shot i took from the bluray near the same scene. plenty of booba | |
| --- 183087164 | |
| >>183081712 (OP) | |
| 1:1 | |
| --- 183087167 | |
| 16 : 10 | |
| --- 183087339 | |
| >>183084882 | |
| >openmatteplot | |
| >all coomer stuff | |
| is this some kind of trick to try to match my actual ip and plebbit account with the VPN I use for this site? | |