Aspect ratio

Aspect ratio isn't a matter I particularly considered in past projects. However, after recently watching films, I paid special attention to the aspect ratios used, realising its association with a particular time period and influences on the general framing and feel of the film. 

The first number refers to the width of the screen, and the second to its height. 

1. 1.33:1- Silent film standard and the primary original aspect ratio 

Miracle on 34th street (1947) 

1.37: 1- The Academy Ratio- This has become the standard in the 1930 and is only slightly wider than the aspect ratio 1.37:1.

1.85:1- The most common aspects for television screens

10 Things I Hate About You (1999)

2.35:1- anamorphic/widescreen format 

The Imitation Game (2014)

Mixing and matching aspect ratios:

This technique is typically adopted by Wes Anderson and seen in his film The Grand Budapest Hotel (2014), whereby he adopts three different aspect ratios: 1.37:1, 1.85:1 and 2.35:1. Each of the different aspect ratios are appropriately and creatively used to represent a different cinematic period, in which the film depicts.

My research illustrated that aspect ratios have to be used for a specific purpose to convey certain themes and ideas. 

How this research impacted our work:

Based on my analysis, I think the most pertinent choice in aspect ratio would be 2.35:1 (widescreen format), which creates the cinematic look that the director and our group desire. Most importantly, the use of this aspect ratio is essential in the way it conveys a story and represents key themes within our film ‘Child Eyes’. To start with our film is capturing an isolated man, detached from the world. Therefore, the wide frame format would be significant in showing the man at the edge of the frame in relation to his wider surroundings to accentuate his loneliness. Alternatively, the aspect ratio would still work well to illustrate the scenes where the man reconnects with his inner child. For instance, in the scenes where Michael and the younger version of himself are playing, it is appropriate that we see them in relation to their surroundings,suggesting that although the world remained the same, Michael’s reality has changed. Finally, because we have the intention of entering our film to independent short film festivals, we believe that using a widescreen format would be appropriate for viewing on a wider screen.

Although mixing aspect ratios creates a unique and interesting look in The Grand Budapest Hotel (2014) and I was tempted to use this technique, it would not be appropriate to use for our film. Due to our film being approximately 5 minutes, it would be disorientating for the viewer to jump through different formats and perhaps disconnect them from the journey we encourage them to endure on with the character Michael.