11 of 13 people found the following review helpful
A very good set,
This review is from: Alfred Hitchcock: The Masterpiece Collection - Limited Edition [Blu-ray]  [Region Free] (Blu-ray)Despite what all the doom mongers have been saying about this set, this is the best presentation of these films on home video yet (and maybe ever). They have even reinstated the Paramount/VistaVision logos on The Trouble With Harry, The Man Who Knew Too Much and Vertigo. All movies are in their correct aspect ratio except for Rear Window which suffers from the bogus 1.66:1 syndrome which seems to afflict too many companies these days (it should be 1.75 or 1.85:1, or full 16x9 anyway).
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Initial post: 3 Dec 2012 16:49:20 GMT
There's nothing bogus about it. 1.66: 1 is the aspect ratio the film was shot in. What would be "bogus" is stretching the frame laterally to fill a 16x9 screen, with the concomittant loss of detail both at the top and the bottom. For nearly twenty years, from the introduction of Cinemascope in 1953, almost all films that weren't in some widescreen process were shot in 1.66: 1. It's the correct format for literally thousands of them, and is still used even today.
In reply to an earlier post on 1 Jan 2013 12:19:40 GMT
Al Baker says:
You are wrong, and I speak with twenty years experience in the cinema business. No film was shot in 1.66:1. All non cinemascope films are shot open matte 4x3 with all the action concentrated in the middle of the frame. The aperture plate in the projector in the cinema creates the aspect ratio and in the UK this was 1.75:1, i.e. the unwanted top and bottom of the frame is chopped off and the rest projected onto the appropriately masked screen. In the USA 1.85:1 was adopted as the standard. In theory any ratio from 4x3 to 1.85:1 could be used, but no non scope films were shown in circuit cinemas in anything other than 1.75:1 from around 1954 onwards.
In reply to an earlier post on 2 Jul 2013 17:17:17 BDT
Last edited by the author on 2 Jul 2013 17:32:02 BDT
Douglas Thomson says:
At least the 3 ratios (1.66, 1.75 and 1.85) are all pretty much the same, with very minimal (and virtually unnoticeable) loss of picture area during playback. Some loss of picture around all the edges of all optical film formats on playback is inevitable anyway. I'm quite sure nobody would prefer to view the scruffy and untidy edges of the original camera frames, in order to enjoy only a tiny amount of extra frame detail. Unless, of course, that's the kind of "old-fashioned projector" effect the director originally intended!
Compare this to what's now being done on a regular basis by companies, when transferring programmes to discs. Tiny 16mm 4:3 frames are being zoomed in, in order to fit modern 16:9 TV screens, with absolutely NO option being given to view the contents in their full original format, if preferred. Now that I really DO object to..
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