By: Kyle Prohaska
Choosing an aspect ratio can be an interesting task. The amateur takes a look at something that is framed in 2.40 and says “wow it looks like a movie, I should crop my video to that!” They fail to understand the reasons for Aspect Ratios (I’ll abbreviate it as AR in this article), and when you should use which size.
There are a few standards that are used way more than the others, and with good reason. I wont go explaining what Aspect Ratios are and the standards used because you can find that information anywhere. Look here to read all about Aspect Ratios and their different standards.
This article will focus on the importance of choosing an AR for your film, and what kinds of things you need to have in mind. Why is this important? Well the AR you choose determines the window your viewer will watch your film in. It also gives you the power to use certain framing and camera techniques to compose your film. What happens if you choose the WRONG framing?
How The West Was Won - Pan & Scan Crop
Well for one you could be setting yourself up for major problems on set. Choosing an anamorphic sized aspect ratio like 2.40:1 could really mess things up for you in a family drama if you aren’t sure how to use it. The common mistake is people like to choose aspect ratios that don’t fit their story. There is no set aspect you should use based on what kind of story you have, only
the way in which you want to tell it. That is the difference. We chose 2.35:1 (Basically 2.40) for Standing Firm because we wanted a bigger budget feeling. However we didn’t just choose it and go for it, we made sure it would suit our needs and fit with the story we had to tell.
What about your environment? Large landscapes look fantastic in anamorphic and super wide aspects. Old westerns years ago were shot in aspects that aren’t even touched anymore. How The West Was Won (1962) was shot in 2.90:1 which is a really wide format. The film however shines and looks amazing, beautifully capturing the landscapes of the west. If it was shot in simple 16:9 things would look great as the landscapes are beautiful no matter what, but the actual scope of the landscapes would not be seen without moving the camera or panning it horizontally. Imagine the exact same film in 4:3 to fit a standard TV? You begin the see my point. The film itself would still look the same but the way in which you watch it is changed significantly.
This is easier to see when your favorite film is shown on television in a Pan and Scan format. Most films that are shown on TV now are broadcast in 16:9 but for years it was cropped to 4:3. Fullscreen DVD’s do the same thing. You can’t really even find a fullscreen DVD anymore, 16:9 is the new 4:3. If you saw your favorite film a million times, then saw it on TV in 4:3 you would see a huge difference. It completely changes the original vision of each shot. What your supposed to see, what your not, and when your supposed to see it…all changes. It ruins the original intent of the cinematographer.
Standing Firm (2009) - 2.35:1 Aspect Ratio
Analyze your films story, which format would benefit your film the most? Besides the more epic feeling, we chose 2.35 for Standing Firm because of the house we shot in. The entire downstairs is open, without doors. Just hallways and a very open layout. This means that everywhere you look you can see deeper into the house, your not looking at a wall. This made 2.35 a great choice because you could really see the design of the home and see deep inside it. Also because of that layout the format allows nice camera movement and dolly moves with more talent participation. Being able to do extreme close-ups and still show the environment is also a plus, including over the shoulder movement. Others argue that 16:9 and greater is similar to how we see the real world with our eyes, so it’s simply better as a standard.
Choosing the incorrect aspect can hurt your film if your camera work isn’t up to par. You might choose a more epic styled standard like 2.35 just to find out you can’t make the framing interesting with what you have to work with. Films that would benefit from an epic aspect and don’t get one aren’t necessarily hurt, but they could be shortchanged in the end. You want the maximum impact from your story.
Good acting, lighting, sound design, production design, etc. all factor into making your film great…and what aspect you choose to view all that in is just as important if not more so. The point of the matter is if you can’t figure out a beneficial reason to use a wide aspect then don’t use it. Besides wide aspect simply looking “cool,” make sure you don’t make the mistake that others make…choosing an aspect without realizing their story to tell can’t use it properly.
