Post by Martin HartIn article <5add7f63-363f-4856-94f3-962ce91982b9
@a1g2000hsb.googlegroups.com>, ***@po.state.ct.us says...
Post by CineramaCheck out the comparison between the letterboxed and the smilebox
http://www.hometheaterforum.com/htf/sd-dvd-film-documentary/275960-ht...
. Less information on both sides of the smilebox compared to the
letterbox.
I guess I know as much about Smilebox as the average guy in these here
parts and frankly there's no justification for the Smilebox version to
encompass a lesser width than the flat version. If you examine the
examples with identical frames you will see that there is a
substantially greater amount of useable image area. Compare the
"closeup" of Debbie Reynolds. She's larger in the middle panel and
there's a lot less wasted black areas in the frame. So I'm willing to
lose that minimal amount of image in order to be able to see more
resolution in the rest of the picture.
What bothers me is that the flat version supposedly has an aspect ratio
of 2.89:1 which is just ridiculous. That means that there's a bit of
image cropped from the top, bottom or both. The max useable image area
for Cinerama is 2.59:1, not 2.89:1. That's not a huge difference but it
can sure stir up the aspect ratio anal retentives.
Marty
(an aspect ratio anal retentive)
--
The American WideScreen Museumhttp://www.widescreenmuseum.com/
Found below on the 2.89:1 aspect ratio from this page -
http://www.in70mm.com/news/2008/west_digital/index.htm
MPI used digital technology to get a better geometric match between
the center and side panels, resulting in the kind of fish-eye effect
that would have been achieved if the film had been shot on a single
105mm strand of film with a 27mm lens. While all the horizontal
information was captured, this created a problem with the top and
bottom of the frame. As it happened, Cinerama films were composed with
extra headroom to allow for theaters whose prosceniums were lacking in
height. Since the amount of perspective varied depending on the point
of focus of the shot, resulting in variations in framelines, MPI
decided to letterbox the image to a ratio that covered all situations,
resulting in the 2.89:1 AR announced in initial publicity, the
ultimate "letterbox".