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|Originally posted by canue|
Paddy there was more than one version of scope pics, Quatermass and the Pit, "A Night to Remember", and 1956 Forbidden Planet are all 1.66:1 anamorphic, so if you have any of the above, the OAR will be just like it/them using a DVD in prog scan.
|Originally posted by paddy|
I'm confused. I can see how a 2.35-1 or a 1.85-1 can be presented in an anamorphic format. But, how can a movie less than 1.78-1, like Strangelove, which is a 1.66 ratio (and some parts are full frame - Kubrick used more than one ratio in this one) that is made from a 1.37-1 negative, be transfered to an anamorphic DVD format?
|Dr. Strangelove was apparently photographed, as were many films during the era, with more than one camera body and different mattes allowing exposure.|
The film was originally projected as intended by DP Gil Taylor and director Kubrick at 1.66:1, but was more frequently seen at 1.85:1.
If you return to one of my earliest Bits pieces, you'll find an aspect ratio chart showing the minute difference between 1.37 and 1.66.
Mr. Kubrick's desire to make his films more appropriate for television veiwing were not based upon current technology, but rather a square monitor and decisions dating back over a decade. I firmly believe that were he still with us, Mr. Kubrick's desires would change along with technology.
With the current popularity of wide screen viewing devices and the fact that they will soon become the standard, it makes no sense to offer new software designed for archaic hardware. Those with wide screen monitors will attest the negative situation found with 1.66 non-anamorphic releases which must be zoomed to improperly "fill" a 1.78 display rather than view the image surrounded by black on four sides.
Dr. Strangelove used stock footage, rear projection and other devices which also take one out of the film if viewing without a 1.66 matte, as one is seeing things that simply aren't meant to be seen.
1.66:1 is the proper aspect ratio for Dr. Strangelove.
There is more detail in the new transfer, which is "printed" heavier than in previous releases, which were created from high contrast prints.
A great deal of effort has gone into this release with actual restoration and cleanup work being done for the first time.
The original negative no longer exists, which precludes doing certain things as might have been done as far as contrast ratios, highlights and other elements which might have been controlled slightly differently.
Older transfers had visual elements which were literally burned out as white because there was no way to control the contrast. This also prevented the image from being transferred with proper density.
As one can see from viewing improperly thought out or ill-prepared releases in which cars drive through streets in daylight with their lights on, or a crowd of townspeople rush through a daylit town carrying burning torches, one is not always meant to see the entire depth of an image as recorded to film. Proper exposures to print are necessary.
Columbia's Grover Crisp and his staff have done a beautiful and high quality job of presenting this film on DVD -- not an easy task.
And with the advent of wide screen monitors which can yield a superb 1.66:1 image from an anamorphic enhanced DVD, I'm quite certain that this would be a "director approved" release were the gentleman available to grant his approval.
|I'm confused. I can see how a 2.35-1 or a 1.85-1 can be presented in an anamorphic format. But, how can a movie less than 1.78-1, like Strangelove, which is a 1.66 ratio|