1 The Director of Photography – an overview

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Aspect ratios 183 Figure 20.11 CinemaScope recomposed for 4 � 3 television Television Television started life as a competition between two systems, that of John Logie Baird, which had an upright or Portrait frame, and that from the Marconi Company, which displayed a horizontal, or View, frame. It was the Marconi system that was adopted with its horizontal aspect ratio of roughly 1.25:1. In 1952, the BBC changed this aspect ratio to 1.33:1 to conform with the then current cinema standard. More recently, with the advent of digitally transmitted television, the world is slowly going over to the latest standard, which is quoted as 16 � 9 (in cinema terms, 1.77:1). Although the 16 � 9 television format is closer to current widescreen cinema production, it does not conform to any existing standard and is a compromise, albeit, perhaps, a good one. At some time or another, films made in all the formats previously discussed will come to be shown on television. Many will have been composed with this in mind as they will have funding from a television outlet built into the production budget. This may be all very well for the producer but it can be a nightmare for the operator, who may have to be thinking about several frame formats in the viewfinder all at the same time. For big budget pictures this presents less of a problem, as funding should have been put aside for a pan and scan telecine transfer from a master copy to the television format of choice. Pan and scan involves a telecine operator moving a television-sized scanning area left and right across the widescreen frame to obtain the best possible composition out of the original framing.This is clearly not ideal, but is far better than just letting the television framing always be the centre section of the original widescreen frame. If the film was originally shot in anamorphic, or 65 mm, the television frame section is likely to be a mere pastiche of the original concept. Figure 20.11 shows the 4 � 3 television aspect ratio overlaid on to a CinemaScope frame and Figure 20.12 shows the 16 � 9 ratio overlaid on to a CinemaScope frame. Both these recompositions make nonsense of the original framing. In Figure 20.11, the 4 � 3 version, three of the original four members of the cast have disappeared. In Figure 20.12, the 16 � 9 framing, the man on the left has managed to reintroduce his ear but the other two still remain virtually unknown to the television audience. It is worth noting at this point that, while for over 60 years the film industry has referred to its aspect ratios as a ratio relative to unity, one,
184 Practical Cinematography Figure 20.12 CinemaScope recomposed for 16 � 9 television Figure 20.13 The 1.66:1, 1.85:1 and the television 4 � 3 aspect ratios Figure 20.14 The 1.66:1, 1.85:1 and the television 16 � 9 aspect ratios the television industry has always referred to its aspect ratios as the nearest whole numbers representing height and width times each other. Things are not quite as bad when taking a television scan from the centre section of a widescreen negative that has been shot with a 1.66:1 hard mask in the camera gate but was framed for theatrical release in the 1.85:1 aspect ratio.As we have seen, the television frame can be taken from the 1.66:1 frame, thus gaining both height and, more importantly, width of frame and getting nearer to the original composition. Figure 20.13 shows a 4 � 3 television frame overlaid on a 1.66:1 original, while Figure 20.14 shows the same but for a 16 � 9 television transfer.
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Dedication To the memory of my fath
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Focal Press An imprint of Elsevier
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vi Contents 5 Lenses 49 Artistic de
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viii Contents 17 Testing 146 Why so
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1 The Director of Photography – an overview

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