字幕列表 影片播放
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Hey, what's this?
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One of Bluto's tricks?
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I'm in the wrong movie!
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What is aspect ratio?
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In regards to movies, aspect ratio is the proportional relationship between the height
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and width of the image that you see onscreen.
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But perhaps the more important question is “why?”
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Why do some films look like this...
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While others look like this...
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Today, most films are presented in 1:85.1 or 2.35:1.
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These widescreen formats became popular in the 50s.
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Before then, most films were shot in 1:37.1, also known as the Academy Ratio.
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Now days, filmmakers can pretty much shoot their films in any aspect ratio they want.
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Some filmmakers choose an aspect ration based on the time period their film takes place.
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Others find an aspect ratio that they love and stick with it.
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Fo example, David Fincher shoots exclusively 2:35.1, which accommodates his sleek cinematography
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and wide environments.
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On the other side of that spectrum, Andrea Arnold prefers older, boxier formats to create
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claustrophobic worlds.
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The aspect ratio tells more about the film than you may think.
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A GHOST STORY, for example, is shot in the cramped 1.33:1.
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This expresses how the main character feels trapped, and we feel the same way.
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What's really interesting about this particular film is how the corners of the frame are rounded.
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Invoking the nostalgia on old photograph, this makes the film feel like a memory.
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THE HATEFUL 8 was shot in the ultra-wide 2.76:1.
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Not only does this compliment the beauty of the snowy vistas, it also enhances the feelings
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of paranoia and uneasiness once inside the house.
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A growing trend in filmmaking is using multiple aspect ratios throughout a single film.
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Sometimes this is to distinguish different time periods.
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Other times it's due to switching between Imax and standard cameras.
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But the most interesting cases are when the change is done to create a feeling.
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This can be done in a very obvious, self-aware fashion, like in Xavier Dolan's MOMMY where
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the character literally stretches the screen.
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The expansion feels like a breath of fresh air as we break confinement.
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We feel the same release as the character.
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Or the change can be extremely subtle, like in Trey Edward Schultz's IT COMES AT NIGHT.
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The film is shot 2.35:1 with 2.75:1 reserved for nightmare sequences.
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As the film reaches its dreadful conclusion, the screen slowly and painfully closes in
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on itself until we reach 3:1, which equates to watching the film through a tiny slit.
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The transition is so subtle that you probably don't even notice it, but you surely feel
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it.
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Reality has now become the nightmare.
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Though it often goes unnoticed, aspect ratio is a crucial element of visual story telling.