Barry Lyndon
New member
I've been a still photographer for a long time, and after years of composing my pictures in (roughly) 1.66/1, I'm finding the standard aspect ratio somewhat unrewarding. I can't afford 35mm, but I've heard that Super-16mm comes out as 1.66/1. That's great -- I mean, heck, it's the aspect ratio of Barry Lyndon!
But it made me curious: is there such a thing as full animorphic widescreen (2.40/1) for 16mm? I imagine that animorphic 16mm would look pretty darned terrific, but I've never heard it mentioned as a possibility in any filmmaking discussions.
I know, however, that Orson Welles shot Touch of Evil on 16mm, and that movie is presented on DVD at the 1.85/1 widescreen, and is referred to on the box as animorphic. Was the animorphic effect created just for the DVD, or did Mr. Welles really shoot an animorphic 16mm movie?
And if not, can someone who has filmed Super-16 share their thoughts on the 1.66/1 aspect ratio? The particular genre of the film I'm planning calls for widescreen -- any widescreen -- but the budget is tight. Any thoughts? Advice?
Thanks in advance!
Elijah
But it made me curious: is there such a thing as full animorphic widescreen (2.40/1) for 16mm? I imagine that animorphic 16mm would look pretty darned terrific, but I've never heard it mentioned as a possibility in any filmmaking discussions.
I know, however, that Orson Welles shot Touch of Evil on 16mm, and that movie is presented on DVD at the 1.85/1 widescreen, and is referred to on the box as animorphic. Was the animorphic effect created just for the DVD, or did Mr. Welles really shoot an animorphic 16mm movie?
And if not, can someone who has filmed Super-16 share their thoughts on the 1.66/1 aspect ratio? The particular genre of the film I'm planning calls for widescreen -- any widescreen -- but the budget is tight. Any thoughts? Advice?
Thanks in advance!
Elijah