I realize that, I was asking if anyone - not only you - would like to see the film the way it looked in 1956.deathie mouse wrote:No, because that is not the composed for OAR.TonyWDA wrote:Would any of you like to see Fantasia matted?
Disney's Widescreen and Fullscreen Issue Explained
"...just as long as I get the WHOLE picture!"
Do you have a widescreen TV? Because if you did, I think you'd understand why matting the films to their intended theatrical ratio and making anamorphic widescreen transfers is desirable.
As far as seeing the most information as photographed, what do you propose be done with films that are shot soft-matte but with hard-matte SFX, like DEATH BECOMES HER or CASPER? The shots without special effects were framed to be matted but the fullscreen transfers reveal more info top and bottom, but the special effect shots were hard-matted (bars actually in place on the film) in 1.85:1, so those shots are panned and scanned on the fullframe transfers. Do you propose that the films go to widescreen just for those shots and then revert to fullframe for the balance of the film?
Do you have a widescreen TV? Because if you did, I think you'd understand why matting the films to their intended theatrical ratio and making anamorphic widescreen transfers is desirable.
As far as seeing the most information as photographed, what do you propose be done with films that are shot soft-matte but with hard-matte SFX, like DEATH BECOMES HER or CASPER? The shots without special effects were framed to be matted but the fullscreen transfers reveal more info top and bottom, but the special effect shots were hard-matted (bars actually in place on the film) in 1.85:1, so those shots are panned and scanned on the fullframe transfers. Do you propose that the films go to widescreen just for those shots and then revert to fullframe for the balance of the film?
Yes, I have a Widescreen TV.drsd2kill wrote:"...just as long as I get the WHOLE picture!"
Do you have a widescreen TV? Because if you did, I think you'd understand why matting the films to their intended theatrical ratio and making anamorphic widescreen transfers is desirable.
As far as seeing the most information as photographed, what do you propose be done with films that are shot soft-matte but with hard-matte SFX, like DEATH BECOMES HER or CASPER? The shots without special effects were framed to be matted but the fullscreen transfers reveal more info top and bottom, but the special effect shots were hard-matted (bars actually in place on the film) in 1.85:1, so those shots are panned and scanned on the fullframe transfers. Do you propose that the films go to widescreen just for those shots and then revert to fullframe for the balance of the film?
Guys I need a bit of help on Sleeping Beauty. I saw the making for the film, that revealed some old fotage of Walt showing the prints on the 70mm film, and the 35mm film. Showing that Sleeping Beauty was filmed both in Technirama 70, and a 35mm format. The 35mm prints couldn't have possibly been used all these years for VHS/DVD releases right? I have all versions of Sleeping Beauty - except the widescreen VHS - and I noticed the camera pans and movements. There all different! On what VHS/DVD was this ORIGINAL 35mm print used, because I don't know which one it is. Could it be possibly released on the upcoming Platinum Edition?
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ichabod
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No watch it a bit more carefullyTonyWDA wrote:Guys I need a bit of help on Sleeping Beauty. I saw the making for the film, that revealed some old fotage of Walt showing the prints on the 70mm film, and the 35mm film. Showing that Sleeping Beauty was filmed both in Technirama 70, and a 35mm format.
Sleeping Beauty is not like Lady and the Tramp, it was not filmed in 2 different ratios to acommodate different theatres with shots realligned like Lady and the Tramp had.
In the video Walt is simply showing the size of film used for past films, compared with the size of the film for Sleeping Beauty.