Re: [AMIA-L] Issues of Widescreen Projection

["Delin, Peter" <delin@xxxxxx>]

Thanks. Great information about a great film.

> Each shot was re-considered and
> individually positioned and cropped from the available increased image
> to give the best possible composition at the new ratio. It cost a fair
> bit more to do, but has its own artistic integrity as a consequence"

That means cadrage as a key element of film art can take different forms 
for a single movie legitimately created by the artist. And of course 
these various artistic versions should be preserved by the archives. In 
this case the Super-35 negative is a source for different artistic 
interpretations concerning the framing of the picture.

kind regards
Peter Delin


Ken.Rowland@xxxxxxxxxxxxxxx schrieb:
> The message below is posted on behalf of Paolo Cherchi Usai:
>
>
> I contacted director Rolf de Heer in relation to the aspect ratio of "Ten
> Canoes", and received the explanation reproduced below.
>
> Paolo Cherchi Usai
> Director
> National Film and Sound Archive
> Canberra
> Australia
>
>
> "The cinema version of  'Ten Canoes' is indeed 2.35:1, but when we
> came to making the video masters, we had a good think and a good
> experiment and decided that DVD is a different medium than cinema, and
> therefore ought to be treated independently...we were not trying to
> replicate the cinema experience at home (which one can't), so let's
> work out how to give the best DVD experience, let's deal with DVD as a
> delivery medium in its own right. Ultimately that meant going full
> frame rather than letterboxing, allowing the viewer to become more
> deeply connected with the image on screen."
>
> "We did shoot on Super-35, giving us access to more image, but it was
> not simply an open-matte transfer. Each shot was re-considered and
> individually positioned and cropped from the available increased image
> to give the best possible composition at the new ratio. It cost a fair
> bit more to do, but has its own artistic integrity as a consequence".