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

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

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

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

This is indeed different from open matte

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.

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.