Mixed Aspect Ratios in Narrative Film

[Joe Taylor]

Next year I will be shooting a short narrative, 35-40 min. that is a period drama/western set in 1850's Arizona. I am planning to film the bulk of this film in the 2.33 aspect ratio and have been long considering a sequence, where a critically wounded character experiences flashbacks, dreams, hallucinations, in the 1.78 aspect ratio. I recall several films that have had mixed aspect ratios, most all shot and projected on film, but in this day of digital delivery, I am hoping to get others takes on the pros and cons of projecting in two different ratios. This film will mostly play the festival circuit, and folks who have experience in this arena I am hoping will chime in.

Again, the bulk, 95%, will be 2.33 with one sequence, 3-4 min, at 1.78. Am I asking for trouble?

*Posted this same topic in the "Off Topic" when the "Cinematography" forum best serves this topic. Hopefully a Moderator will delete from "Off Topic."

 

[DCC Erickson]

I'm not all that experienced, but it seems you could shoot all in one ratio and matte a different ratio in the NLE. After shooting the frame wide enough to lose the matted area. Just a thought.

Edit: This of course doesn't address the projection issue. I guess it's more of a cheat.

 

[brian leisring]

the aesthetic advantage of shooting two formats has to outweigh the effect mixing aspects may have on the viewers of the film. Are there any narrative reasons / framing decisions that would justify the switch? If yes I think i would still shoot 2.33, while framing for academy and have that decision be one between you the editor and the director.

 

[Cail Young]

Reply from the OT forum:

Scott Pilgrim is all over the place, and it works fine. I think the master aspect is 1.85, and the action sequences are in 2.35 - not sure if the reverse would work as well?

 

[Stacey Spears]

The Dark Knight was ~1.78:1 for the IMAX stuff and ~2.39:1 for the 35mm stuff. It switches back and fourth during the movie.

 

[Marc Wielage]

Next year I will be shooting a short narrative, 35-40 min. that is a period drama/western set in 1850's Arizona. I am planning to film the bulk of this film in the 2.33 aspect ratio and have been long considering a sequence, where a critically wounded character experiences flashbacks, dreams, hallucinations, in the 1.78 aspect ratio.

I would weigh the negative considerations: the danger is that a change in aspect ratio will snap the viewer out of the film and remind them they're watching a movie. To me, this is a very heavy-handed technique that has to be handled very carefully. I also don't think it translates well to home video, which may very likely represent the largest overall audience for your film.

Doug Trumbull's Brainstorm was one of the first major films I can remember doing this. Also American Graffiti 2. Neither did very well at the box office, but I think there are good things in both films. (The old This Is Cinerama did this spectacularly in 1952 to introduce the format, but that's kind of a special case.) On the other hand, Oliver Stone's JFK did it in 1991 and made a ton of money and won a lot of awards; to date, it's the only major Hollywood film I can think of that used Super 8mm, Regular 8mm, 16mm negative, 16mm print, flat 35mm, anamorphic 35mm, new videotape, and old videotape. An amazing film from an editing point of view, and the aspect ratios were topsy-turvy, but it told its story effectively.

I would do some tests before committing to this, take a long hard look at how the images feel when projected, and go from there. Me personally, I think there's a million other things you can do to dream sequences, flashbacks, and hallucinations -- sepia looks, defocused looks, desaturated looks, bleach-bypass, vignettes, you name it -- that aren't as extreme and work very, very effectively.

 

[Vince Sweeney]

I'd first question the length of the film. You may as well go to a feature length at that point. 40 minutes is way too long for a "short" and you will find issues with festivals not knowing what do with it, which leads to rejection in an already very difficult game to get into. Getting it out after that, which is rare even for a well done indie feature, won't happen at all with that length. Stay around 15min or under, or go to 85+. I'd take this issue seriously; it's a bigger problem than you might think.

 

[Andrew Ceperley]

Galaxy Quest employed this as well - but only in theaters as far as I know. The television show at the beginning was 1.33, then the "Earth" sequences were 1.85, then when he realizes he's on a spaceship and the doors opened up, the frame opened up to 2.35:1 for the rest of the film.