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PostPosted: Thu Sep 14, 2006 8:41 am 
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Ali Bhai, can this be made a sticky? It has valuable info on how a movie "Seven Brides For Seven Brothers" was shot simultaneously for two different scopes - 2.55 and 1.85 -- the way the scenes were composed for the two separate scopes is very interesting to note -- and this will interest Sholay fans who believe in separate shoots for 70mm and 35mm ;-)

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Seven Brides For Seven Brothers (the movie that inspired Satte Pe Satta) was shot simultaneously in two scopes. Check the framing of the same scenes for different scopes at http://www.dvdbeaver.com/film/DVDCompare10/7_brides.htm

Gary Tooze @ DVDBeaver.com wrote:
The 2-disc SE DVD contains two versions of the film.

First the 2.55:1 cinemascope version...
The second is the "notorious" flat version, shot side by side with the scope version, and was a studio back-up, in case scope turned out to be a fad. The OAR was 1.85:1, but here its been cropped into 1.78:1 (16x9)...


Rewind - DVDCompare.net wrote:
"Back in 1953 when Seven Brides commenced production, Cinemascope was still a novelty, and just a fraction of theaters were equipped to show movies shot with the super-wide lens. Worried MGM executives thus demanded director Stanley Donen film an alternate version of Seven Brides to ensure the musical could play in any theater and reach the largest possible audience. Such an edict, however, put enormous pressure on Donen, who needed to compose two different shots for every camera setup to accommodate the vastly different aspect ratios (2.55:1 and 1.77:1). Ironically, by the time Seven Brides premiered in 1954, almost every theater in America could project Cinemascope films, and the alternate version was never commercially shown." (Thanks to David Krauss of digitallyobsessed.com for this info.)


Last edited by newDEEP [go-green] on Thu Sep 14, 2006 5:51 pm, edited 1 time in total.

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 Post subject: exercise time
PostPosted: Thu Sep 14, 2006 5:04 pm 
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http://www.cinematography.net/Pages%20D ... _11.85.htm << This person from Brussels has/had a "scope" question about the Bollywood movie he's involved with... Happy reading 8)

Update: the specific link is no longer available, but the site is alive at http://www.cinematography.net/


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 Post subject: lady and the tramp
PostPosted: Tue Dec 12, 2006 8:00 pm 
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Disney's famous "Lady And The Tramp" animation movie was also reportedly made simultaneously in two separate ARs - 2.55 and 1.33

http://www.ultimatedisney.com/ladyandthetramp.html


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PostPosted: Sat Jan 10, 2009 8:27 pm 
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This is indeed different from open matte


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PostPosted: Tue Feb 03, 2009 9:26 pm 
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and there are movies which actually switch from one AR to another! Examples -- Horse Whisperer, Brother Bear. And of course, the newer movies with some imax scenes added.


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PostPosted: Mon Feb 14, 2011 5:55 pm 
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bhaskar wrote:
newDEEP wrote:
The Original Aspect Ratio is 1.85:1,
but it will also be made available in 2.35:1



Why?

newDEEP wrote:
Kiran Rao preferred to shoot in 16mm and then use 1.85:1 projection for various reasons. But given the reality that there are several 2.35:1 screens in India, they'll also do that.

Peepli Live was also treated the same way, wasn't it? And Delhi 6?


OAR or Original Aspect Ratio, or Director's intention has been discussed innumerable # of times and has been given lots of importance.

Is there such a thing ??

Newdeep, you now are close to industry people and am sure you can shed some light on it.

In my opinion, if a Director knows that his feature will be seen in various aspect ratio screens, and if he cares about it, then he composes a frame with all the essential ingredients in safe picture area and then the surrounding area is used for additional picture required for various aspect ratios.

This is fine,

But, problem comes in case of old films when it was a norm to shoot and project films om 4:3 screens. Producers/ Directors/ Cinematographers had no idea that these films would ever be projected on any other AR screen and then somehow in modern times when the buzz word is 2.35:1, they transfer their 4:3 films into 2.35:1. Only way they can do this is by cutting top and/ or bottom of the picture.

One thing is for sure, almost always directors and theatre owners want to fill up their screens even if it means cutting off part of the picture.


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