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Channels Showing Full Widescreen Films |
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#1301 |
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Join Date: Jan 2007
Posts: 19,460
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Quote:
Just looked on ITV1+1. It is 16:9, not 1.85:1. Very little difference, obviously, but there are no black bars on my plasma TV.
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#1302 |
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Join Date: Feb 2010
Posts: 182
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'Odd', perhaps, in the sense that few people will see such films, yet they tend to be the ones covered most on movie sites and film magazines (buried beneath the Hollywood mainstream stuff, natch). There's a place for such films, but I can't see the point of something so screamingly dull. There again, I'm not the target audience (I'm in the auditorium next door, where there's a revival double-bill of ZOMBIE FLESH-EATERS and SWEDISH EROTIC SEXATIONS!).
As for the Academy (1.37:1) ratio, I think I would have preferred the retention of this in the early 1950's, rather than the introduction of cropped 1.85:1, since the difference between 1.37 and 2.35/9 is incredibly vast, and REALLY makes a visual difference, whereas there isn't that much of a difference between 1.85 and scope, especially nowadays with an overabundance of closeups and quick cuts which work against the scope frame. Japanese and Russian filmmakers continued using 1.37 well into the 1970's, alongside scope films, and they were no more or less visually inventive than their 1.85 counterparts. By the way, one last point about Lionsgate's DVD version of THR3E: Not only is the image cropped, but the Dolby Digital 5.1 soundtrack heard in cinemas has been downmixed to 2-channel stereo. Talk about throwing away a DVD release!! So many films (especially big-budget Hollywood ones) are in Scope nowadays that it's a surprise when one isn't - e.g. the new Fright Night, which is 1.85:1 (3D). The 80s original was in Scope. There are plenty of European arthouse filmmakers who used 1.37:1 into the 70s and beyond, Eric Rohmer for example. I've just watched (for review) four Theo Angelopoulos films from the 70s and they are all in Academy. Then there were all the Dogme 95 films - mostly shot on video, though at least one (Mifune) was 16mm. I'm wondering if digital projection may make non-standard ratios more viable in commercial cinemas - you'd project it in 16:9 with black side matting. Talking about soundtrack downmixes, another example is Artificial Eye's DVD of The Tree. The ratio is correct (Scope) but the soundtrack on the disc is 2.0. |
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#1303 |
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Join Date: Apr 2007
Location: Turnford, ENGLAND
Posts: 2,730
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Excellent Dude !
Bill & Ted's Excellent Adventure currently on ITV1 in OAR. It's immediately being followed by Free Willy 3, so there's a possibility of 2 widescreen showings on the trot
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#1304 |
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Join Date: Apr 2007
Location: Turnford, ENGLAND
Posts: 2,730
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Free Willy 3 not transmitted in 2.35:1 but I've noticed it's not on Libretio's list, so perhaps it wasn't made in 2.35:1 even though number 2 was
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#1305 |
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Join Date: Apr 2009
Posts: 1,278
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Quote:
On the other hand, I have watched Zombie Flesh-Eaters as well. Glad to see I'm not the only person pedantic enough to put that hyphen in.
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So many films (especially big-budget Hollywood ones) are in Scope nowadays that it's a surprise when one isn't - e.g. the new Fright Night, which is 1.85:1 (3D). The 80s original was in Scope.
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Talking about soundtrack downmixes, another example is Artificial Eye's DVD of The Tree. The ratio is correct (Scope) but the soundtrack on the disc is 2.0.
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Free Willy 3 not transmitted in 2.35:1 but I've noticed it's not on Libretio's list, so perhaps it wasn't made in 2.35:1 even though number 2 was
![]() By the way, not only did Bill & Ted waltz across our screens at the original 2.39:1 for the first time ever on terrestrial TV this afternoon (with Keanu Reeves at his comic best), but SEVEN YEARS IN TIBET did exactly the same on BBC 2. All the better to appreciate the spectacular scenery (not just Brad Pitt - the Himalayas, too! ).
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#1306 |
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Join Date: May 2003
Posts: 15,850
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Quote:
Bill & Ted's Excellent Adventure currently on ITV1 in OAR. It's immediately being followed by Free Willy 3, so there's a possibility of 2 widescreen showings on the trot
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If there's a Dolby Digital (ie. 5.1) logo in the closing credits, then Artificial Eye really should know better.
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By the way, not only did Bill & Ted waltz across our screens at the original 2.39:1 for the first time ever on terrestrial TV this afternoon (with Keanu Reeves at his comic best), but SEVEN YEARS IN TIBET did exactly the same on BBC 2. All the better to appreciate the spectacular scenery (not just Brad Pitt - the Himalayas, too! I've seen Bill & Ted on C4 in 2.35:1 a few years ago.
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#1307 |
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Join Date: Apr 2009
Posts: 1,278
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Don't all companies just use a general Dolby Digital logo, which could even indicate a DD2.0 soundtrack?
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I've seen Bill & Ted on C4 in 2.35:1 a few years ago.
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#1308 |
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Join Date: May 2008
Location: Reading, UK
Posts: 23,352
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Grease currently playing out on Channel 4 in OAR...
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#1309 |
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Join Date: Feb 2010
Posts: 182
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Quote:
Don't all companies just use a general Dolby Digital logo, which could even indicate a DD2.0 soundtrack?
Dolby SR was a 2.0 format. The first cinema digital sound (5.1) system was Cinema Digital Sound. It's not used any more, but films which did use it included Dick Tracy and Terminator 2 and Edward Scissorhands - all at limited venues as special prints had to be prepared which didn't have an analogue optical track available as a fallback option. I saw all of the above in the cinemas when they came out, but I'm pretty certain I only heard them in Dolby SR. Dolby Digital arrived in cinemas in 1992 with Batman Returns, DTS (now known as Datasat) in 1993 with Jurassic Park and SDDS (Sony Dynamic Digital Sound) the same year with The Last Action Hero. All are 5.1 and upwards and have analogue optical tracks available just in case things go wrong. |
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#1310 |
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Join Date: Feb 2010
Posts: 182
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Quote:
And so many of those same Hollywood films have no business being any wider than 1.85:1. In fact, the vast majority of them aren't any wider than 1.85 - take a look at the compositions, and most are simply 1.85 with the top and bottom shaved off.
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#1311 |
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Join Date: Apr 2009
Posts: 1,278
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Nothing new in that. I saw loads of Scope films in the 1980s which were designed to be cropped - basically composed in 4:3 with dead space (or at least, non-speaking characters) at the sides. For really blatant examples, see almost anything directed that decade by Blake Edwards.
I'm not familiar enough with Edwards' work to assess his use of the scope frame (he used it extensively throughout his career), but there are still plenty of fine examples of 'lateral composition' up to around 1990. Take a look at anything by Lucio Fulci, for example, or THE FINAL CONFLICT and (especially) DePalma's DRESSED TO KILL. But when VHS became so successful toward the end of the 80's (ie. Hollywood had discovered its potential as an all-encompassing cash-cow), and films were cropped on THAT format, directors simply 'protected for TV'. The number of scope films dropped dramatically, all over the world, and was only revived with the introduction of Super 35, which allowed for the 're-purposing' of images in post. And most films shot in S35 or HD look like they're nothing more than 1.85 or 1.33, cropped down to 2.39. Notable exceptions include films from China and (especially) India, where S35 has been adopted in a big way, and their scope compositions are usually quite beautiful. By the way, WHITE MATERIAL premiered on BBC 4 at the original 2.39:1 ratio last night. Another S35 film, though - crap compositions. |
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#1312 |
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Join Date: May 2003
Posts: 15,850
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Quote:
And so many of those same Hollywood films have no business being any wider than 1.85:1. In fact, the vast majority of them aren't any wider than 1.85 - take a look at the compositions, and most are simply 1.85 with the top and bottom shaved off.
I loved 1991's The Hard Way as that had a lot of action in it and John Badham made a great fist of that, but most comedies may as well be in 1.85:1. |
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#1313 |
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Join Date: Jun 2002
Posts: 13,766
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I never understood why American Pie 3 was in 2.35:1 but the others were all in 1.85:1. The new one looks as if it is also in 1.85:1. Maybe a different director?
The Gauntlet was on ITV 4 last night in 2.35:1. Probably the only film on TV last night I remember seeing, let alone being broadcast in it's proper ratio, apart from The Bank Job on Film 4. |
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#1314 |
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Join Date: May 2003
Posts: 15,850
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Quote:
I never understood why American Pie 3 was in 2.35:1 but the others were all in 1.85:1. The new one looks as if it is also in 1.85:1. Maybe a different director?
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#1315 |
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Forum Member
Join Date: Apr 2009
Posts: 1,278
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2.35:1 movies across the Freeview platform for the coming week (26 November - 2 December):
Saturday (26 November) BATTLE OF MIDWAY [see: Midway] DAMIEN: OMEN II (Film 4) FAILURE TO LAUNCH (Film 4) THE FINAL CONFLICT (Film 4) FLASH GORDON (ITV 4) G.I. JOE: THE RISE OF COBRA (C4) THE INCREDIBLES (BBC 3) I, ROBOT (E4) JACK FROST (ITV 2) LAST OF THE DOGMEN (C5) MIDWAY (ITV 4) MURPHY'S WAR (Film 4) THE OMEN (Film 4) RED SONJA (5 USA) THE RINGER (Film 4) SAHARA (More 4) THE SCORPION KING (ITV 1) THE SINGER NOT THE SONG (ITV 4) SINK THE BISMARCK! (More 4) STORM OVER THE NILE (Film 4) UNTIL DEATH (5 USA) Sunday (27 November) 27 DRESSES (E4) ALIEN³ (Film 4) APPALOOSA (Film 4) BATTLE OF MIDWAY [see: Midway] BLOOD WORK (C5) CATWOMAN (ITV 2) "CROCODILE" DUNDEE II (Film 4) THE FIFTH ELEMENT [Le Cinquiθme Ιlιment] (C5) LONDON TO BRIGHTON (BBC 2) MIDWAY (ITV 4) MY BEST FRIEND'S WEDDING (C4) THE RIDDLE OF THE SANDS (Film 4) THE SINGER NOT THE SONG (ITV 4) STORMBREAKER (Film 4) THUNDERBALL (ITV 4) TORPEDO RUN (Film 4) TRAINING DAY (ITV 4) Monday (28 November) ASSAULT ON PRECINCT 13 (C4) DANCER IN THE DARK (Film 4) SEA WIFE (Film 4) SHALLOW HAL (5*) SNAKES ON A PLANE (Film 4) THUNDERBALL (ITV 4) YOU ONLY LIVE TWICE (ITV 4) Tuesday (29 November) 23 PACES TO BAKER STREET (Film 4) BASIC INSTINCT 2 (Film 4) THE CONTRACT (5 USA) DRAGONFLY (BBC 1) FEAST OF LOVE (Film 4) FLASH GORDON (ITV 4) MAX PAYNE (Film 4) NED KELLY (ITV 4) STORMBREAKER (Film 4) THE WITCHES OF EASTWICK (ITV 1) THE WOODLANDERS (Film 4) YOU ONLY LIVE TWICE (ITV 4) Wednesday (30 November) THE 51st STATE (Film 4) DIAMONDS ARE FOREVER (ITV 4) ENTRAPMENT (Film 4) I, ROBOT (E4) JOURNEY TO SHILOH (ITV 4) THAT TOUCH OF MINK (C4) THREE KINGS (ITV 2) Thursday (1 December) "CROCODILE" DUNDEE II (Film 4) DIAMONDS ARE FOREVER (ITV 4) THE HOUSE OF MIRTH (Film 4) INSIDE MAN (ITV 2) KNIGHTS OF THE ROUND TABLE (C4) [CinemaScope (2.55:1)] NONE BUT THE BRAVE (Film 4) TORA! TORA! TORA! (Film 4) TRAINING DAY (ITV 4) TRANSFORMERS (Film 4) Friday (2 December) BLACK HAWK DOWN (C5) THE CROSSING GUARD (BBC 2) THE DaVINCI CODE (5*) EVER AFTER (E4) FEARLESS [霍元甲] (ITV 1) FRANKLYN (C4) LAST OF THE DOGMEN (C5) MISS CONGENIALITY 2: ARMED & FABULOUS (ITV 2) MURPHY'S WAR (Film 4) NEVER SAY NEVER AGAIN (ITV 4) SINK THE BISMARCK! (More 4) THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES OR HOW I FLEW FROM TO LONDON TO PARIS IN 25 HOURS 11 MINUTES (Film 4) [Todd-AO (2.21:1)] |
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#1316 |
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Join Date: Apr 2007
Location: Turnford, ENGLAND
Posts: 2,730
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Enter The Dragon is currently on ITV1 in OAR. Whether or not it's the James Firman approved version or the uncut version I don't know.
Meanwhile, Snake Eyes is on BBC1 in OAR. |
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#1317 |
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Join Date: Jan 2007
Posts: 19,460
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#1318 |
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Forum Member
Join Date: Apr 2007
Location: Turnford, ENGLAND
Posts: 2,730
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Not here it isn't
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#1319 |
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Join Date: Feb 2010
Posts: 182
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Enter The Dragon is currently on ITV1 in OAR. Whether or not it's the James Firman approved version or the uncut version I don't know.
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#1320 |
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Join Date: Jan 2007
Posts: 19,460
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If you see a sequence where Bruce uses nunchukas (chainsticks), it's the uncut version.
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#1321 |
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Join Date: Apr 2009
Posts: 1,278
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Quote:
Enter The Dragon is currently on ITV1 in OAR. Whether or not it's the James Firman approved version or the uncut version I don't know.
Meanwhile, Snake Eyes is on BBC1 in OAR. The opening credits of SNAKE EYES were in scope, but the print switched to 1.78:1 at a certain point. This was especially egregious, since De Palma is one of the few US directors who makes full use of the v-e-e-e-r-y w-i-i-i-d-e screen, with no concessions to TV whatsoever. In other words, a real filmmaker, not a TV hack masquerading as a filmmaker (cough! - Peter Jackson, James Cameron - cough!). |
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#1322 |
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Join Date: Apr 2009
Posts: 1,278
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More DVD stupidity:
You'd think a film starring Denzel Washington (who also directed) and Forest Whitaker would get a shot at a theatrical release in the UK, right? Not so THE GREAT DEBATERS, which went straight to video over here. Shot in 35mm anamorphic (Panavision), it was decided by the idiots* over at High Fliers to crop the DVD version down to 1.78:1. I switched the bloody thing off after about 20 seconds and have sent it back to my rental service, unwatched. *'Idiots' is too loose a term for the idiots at High Fliers. Because of the restrictions on language here, I can't say what I really feel about this malarkey. I've seen too many films over the last few months cropped and compromised on home video by small distributors who seem to think they can get away with such stupidity because no one will notice, or care. And a film like TGD is hardly likely to warrant a major re-release anytime soon, so we're basically stuck with what we've been given. It makes my sodding blood boil. |
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#1323 |
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Join Date: Apr 2009
Posts: 1,278
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I watched my recording of AVALANCHE EXPRESS yesterday, taken from the recent screening on C4, and the scope frame really DID make a difference to the film (it's been screened a number of times recently on other channels, always cropped to buggery). I enjoyed it a hell of a sight more than another scope film, G.I. JOE: RISE OF THE COBRA, also screened of late on C4, which seemed braindead by comparison. Not that AE was ever in danger of winning an Oscar, but it was still a great deal more watchable than the synthetic G.I. Joe rubbish, which made NO capital of its scope frame whatsoever (both films were shot in 35mm anamorphic).
I only mention AE in passing because I was surprised to find that the film is not available on DVD in the UK, which makes the scope screening on C4 all the more invaluable. |
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#1324 |
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Join Date: May 2003
Posts: 15,850
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Quote:
I watched my recording of AVALANCHE EXPRESS yesterday, taken from the recent screening on C4, and the scope frame really DID make a difference to the film (it's been screened a number of times recently on other channels, always cropped to buggery). I enjoyed it a hell of a sight more than another scope film, G.I. JOE: RISE OF THE COBRA, also screened of late on C4, which seemed braindead by comparison. Not that AE was ever in danger of winning an Oscar, but it was still a great deal more watchable than the synthetic G.I. Joe rubbish, which made NO capital of its scope frame whatsoever (both films were shot in 35mm anamorphic).
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#1325 |
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Join Date: Apr 2009
Posts: 1,278
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I was surprised GI Joe wasn't shoved into an early evening timeslot like a lot of premieres on C4 lately (even if some of them are cut) as it looked like a kids film rather than a 9pm one.
Making matters worse, there's no consistency from film to film: The 2004 remake of FLIGHT OF THE PHOENIX is routinely scrubbed clean of PG-level swearing for a pre-watershed slot (it's had a small number of uncut post-watershed showings, too), whereas the same level of profanity is almost always left intact for pre-watershed screenings of THE POSEIDON ADVENTURE and COACH CARTER, the latter of which contains an eye-watering amount of such language. |
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