Call it filmmaking, content creation, vlogging, cinema, or video art, the world of motion-based content is expanding. A huge wealth of both capture and broadcast standards is available for an even larger variety of creators. These range from Instagram to IMAX, from old compact cameras with less than FHD recording to 8K, 12K, and more. And that’s without even talking about analog capture formats. Amidst this wealth, one form of artistic expression seems to be left behind – aspect ratio. Now, don’t get me wrong – aspect ratios have long been an influential tool in the hands of filmmakers and creators. An expansive article by my colleague Mascha Deikova thoroughly reviews it. From the camera’s side, the last few years have brought more and more cameras offering open gate, 17:9, and several anamorphic formats. Yet the majority of video content is still based on a 16:9 aspect ratio, especially when we consider capture format. I believe we can all benefit from further popularizing the use of various aspect ratios in our filmmaking and content. A recent example of an alternative aspect ratio as an artistic choice: The Lighthouse, directed by Robert Eggers, DOP: Jarin Blaschke Why not crop? With today’s fairly accessible high-res cameras, simple cropping seems to be a valid solution. Open gate recording makes even more sense, especially when producing content for various media and social outlets. While technically sound, this solution may interfere with the creative process, which brings me to my personal journey with aspect ratios,...
Published By: CineD - Friday, 2 May