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Open Matte
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Advertisement:propertag.cmd.push(function() { proper_display('tvtropes_mobile_ad_1'); })When a movie or TV show displays visual information not seen in its primary release, making it available in multiple aspect ratios. Often times, a film is made with this in mind and "protects" the frame for the larger picture. Not all Open Matte releases were originally intended to be such, which may reveal bloopers such as a Visible Boom Mic or a puppeteer's hand. This technique was originally used in The '50s to help films such as On the Waterfront navigate the transition from Academy Ratio (1.375:1, or 11:8) screens to newer wide screens. These films would be shot traditionally on 35mm film with care taken so as all the important details are in the middle 1.85:1 frame. This technique is called Shoot and Protect. Theaters could choose to matte the film to Academy Ratio, 1.85:1, or anything in between. Advertisement:propertag.cmd.push(function() { proper_display('tvtropes_mobile_ad_2'); })In The '80s, '90s, and early to mid-2000s, there was a new reason. Because Pan and Scan is a Berserk Button for many directors (essentially cropping their movies without their input), and know that studios wanted a 4:3 version to show on television, they would use Open Matte. This preserves all the details the director intended to shoot, even all the items in a Widescreen Shot. The method remained largely the same, shooting on spherical (non-anamorphic) 35mm and protecting for widescreen. This preserves the whole frame just like letterbox would, but also fills the whole TV screen to satisfy studios and consumers. However, VFX shots frequently used a hard matte, meaning the widescreen theatrical frame is all there is. For the home video releases, these shots had to be pan and scanned. Videos that show this filmmaking method typically use Back to the Future as an example. Advertisement:propertag.cmd.push(function() { proper_display('tvtropes_mobile_ad_3'); })Starting in the late 2000s with the rise of digital cinema (and television), the purpose and methods of Open Matte changed. Digital cinema masters will have a 1.90:1 aspect ratio and a resolution of 2048x1080 2Knote This is the standard set by the Digital Cinema Initiative, or DCI, hence why it's called DCI 2K. Some digital cinema systems may expand the frame taller, like IMAX with Laser stretching the 1.90:1 image vertically to project. with the intent to crop it to the proper aspect ratio for distribution. For 2.39:1, that is 2048x856. The Blu-ray release would show the same area as theaters, but TV channels would crop the master to 1920x1080, making it an open matte releasenote Some Digital Cinema masters have a hard matte to ratios wider than 1.90:1 on at least a few shots, which requires the use of Pan and Scan to get a 16:9 version. If the movie is between 16:9 and 1.90:1, it is 1080 pixels tall, with no possibility of Open Matte for TV, just Pan and Scan. Narrower than 16:9 and you're probably better off letterboxing. Many TV channels still do this with newer movies, even as ordinary consumers started buying larger TVs and warmed up to letterboxing. Films shot in IMAX often have a ratio of 2.20:1 or 2.39:1note 5-perf 70mm film uses 2.20:1. Many digital movies use 2.39:1, same as anamorphic 35mm in most theaters, while showing more image above and below in IMAX theaters. That is 1.90:1 for films shot in IMAX Digital, or 1.43:1 for films shot in IMAX 65mmnote 70mm refers to the playback format. 65mm is the shooting format. 65mm uses 70mm film stock, but uses the other 5mm for sound. That is what the marketing means by "see up to [26 or 40]% more in IMAX". However, most IMAX movies are not shot entirely in IMAX formatsnote While there are several films shot entirely in IMAX 65mm, most of them are 45 minute documentaries, and none of them are major motion pictures, causing an Aspect Ratio Switch when presented in the expanded ratio. Unless they were shot entirely in IMAX formats like Avengers: Infinity War and Avengers: Endgame, both of which used Digital IMAX. Occasionally, these expanded ratios get onto home video releases, showing the whole 1.90:1 of IMAX Digital, or IMAX 70mm cropped to 16:9 to fill the whole TV. This is all part of a "taller is epic" trend that stands in contrast with the "wider is epic" mindset that has existed since the Widescreen Revolution of The '50s. When a film uses spherical 4-perf 35mm, that is called "shooting flat". When a film is specifically shot to work in multiple aspect ratios, that is called Shoot and Protect. When Shoot and Protect is used specifically for a television release, that is called TV Safe Shooting. Animated features tend not to use Open Matte, as that would require extra drawing or rendering for things not seen in the cinema. Certain TV shows (animated or live-action) made in the 2000s will use open matte to work in 4:3 and 16:9 during the HDTV transition. Compare Aspect Ratio Switch, Behind the Black, Letterbox, and Widescreen Shot. Contrast Pan and Scan and Visual Compression. If the letterbox reveals that objects are traveling outside the frame, than that is an example of Frame Break. Note: Examples of "It was shot on spherical 35mm, matted for theaters, and unmatted for television and home video" are too common to list here. Examples: |
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Captain Disillusion briefly converses about Open Matte in "CD / Aspect Ratio". As he expands the frame, a Visible Boom Mic is revealed. | |
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One of the most obvious examples of this is a particular scene from A Bug's Life where they show two young ants climbing up a leaf: In the original widescreen version, you couldn't see the second ant at all, but in the fullscreen version, you actually do. | |
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On the Waterfront was shot on 35mm and protected for 1.85:1. Not for a home video release (which wasn't a thing at the time), but because theaters were transitioning to widescreen. This video essay goes into more detail about how the film feels slightly different in Academy Ratio, 1.66:1 and 1.85:1. | |
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First Man was shot on a variety of celluloid formats. Super 16, Super 35, Techniscope, but most importantly for here, IMAX 65mm. It was used for the moon scene. It never got a release in IMAX 70mm, but the Blu-ray release shows the moon scene in 16:9. The rest is in 2.39:1, which non-IMAX theaters used. | |
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The Dark Knight Rises used 72 minutes of IMAX footage | |
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Guardians of the Galaxy was the first to use IMAX Digital footage, with over an hour of it. | |
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Lilo & Stitch: The Series was made in 16:9 with a 4:3 safe area. | |
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Guardians of the Galaxy Vol. 2 | |
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The Dark Knight was Nolan's first foray into IMAX 70mm, used for the opening scene showing a bank robbery. Overall, 30 minutes were shown in IMAX. The rest was shot in 35mm (anamorphic and VistaVision). | |
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Black Panther (2018) | |
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1917 was opened up to 1.90:1 for the whole film | |
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Avengers: Infinity War was the first film to be shot entirely in digital IMAX, thus averting Aspect Ratio Switch. | |
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Open Matte | |
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Marvel Cinematic Universe films show select sequences in Digital IMAX unless otherwise specified. The TV releases zig-zag open matte, as they are both taller and narrower than the theatrical release. | |
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Thor: Ragnarok | |
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Ant-Man and the Wasp | |
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Spider-Man: Far From Home was one of the first to have an official open matte home release from IMAX themselves, at first on FandangoNOW with the expanded ratio only available on IMAX Enhanced TVs. | |
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Avatar is an unusual case. It was shown in 2.39:1 for 2D screenings, but 3D screenings had 2.39:1 and 1.85:1 versions, with theaters being told to fill their whole screen. The Blu-ray release is in 16:9, filling a TV completely. | |
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Captain Marvel | |
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Dunkirk was 75% IMAX footage, about 80 minutes. | |
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Interstellar used 66 minutes of IMAX footage | |
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Avengers: Endgame was shot at the same time as Infinity War, also entirely with IMAX Digital cameras. | |
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Sully used IMAX for its Signature Scene of landing a plane in the Hudson River. | |
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Tenet uses 50% IMAX footage, approximately 75 minutes. | |
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Inverted with The Wire. This article goes into detail about the remastering process. | |
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Open Matte | |
| Open Matte / int_e343dcbd | comment |
The Big Trail zig-zags open matte. It was double-shot on standard 35mm film and the 70mm Grandeur format, with 4:3 and 2.20:1 ratios respectively. However, both use different shot compositions and editing, and thus are not from the same camera capture. Song 'O My Heart was shot similarly, but the 70mm version was never released, and thus presumed lost. | |
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