“If all the viewers are watching things in vertical, then why wouldn’t you go fully into that and make it the best you possibly can?” “There’s a cool challenge to making the best story possible in a vertical orientation,” director and producer Taylor Kavanaugh says. Some filmmakers bemoan this trend - especially if it means watching content on a widescreen with thick pillar boxes (vertical black bars) on either side of the video - but others take a more practical view. Enough people are making vertical short films with their phones that there’s even a biennial Vertical Film Festival based in Australia. So many people view video content on their phones now that a vertical aspect ratio (9:16) has gained wider acceptance. Sydney Pollack even sued Danish TV for compromising the artistic integrity of his film Three Days of the Condor. Clearly, we needed wider televisions so we could watch films properly. If important action happened at the edge of the frame, editors had to pan over to that edge. To present these film formats on television sets, editors had to “pan and scan,” cutting off the edges of the film (which could be as much as 50 percent of the footage) to capture the central action. Ratios of 2.59 (Cinerama), 2.35 (Cinemascope), 2.2 (Todd A-O), 2.76 (MGM 65), and 2.20 (Super Panavision) presented extremely wide pictures, perfect for telling epic stories like Patton, Ben-Hur, and Lawrence of Arabia. With the rise of television, films moved to widescreen aspect ratios to offer expansive viewing experiences that TV couldn’t match. The Academy of Motion Picture Arts and Sciences declared this the new official ratio, so it became known as the Academy Ratio. In 1932, filmmakers developed a ratio of 1.37, which added an audio track to the edge of the video frame.
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