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When anamorphic specialist and pre-pro videographers abandoned the 1.85:1 and 1.66:1 framing methods for 2.39:1 and 2.00:1, respectively, they were able to provide the added benefits of both a wider and less compressed anamorphic image. Their work included pre-visual grading via Fototo "slo-mo" and other digital techniques. Now that the 2.39:1 frame has grown in use, the same principles for the 2.00:1 option can be applied.
Films such as Titanic (1997), Whale Rider (2003), and James Cameron's Avatar (2009), are accentuating the use of this framing method due to the popularization of high-definition.
While the majority of films released on home video have always been shot in 1.33:1, when the effects are added to a 30 fps non-anamorphic 4-perf film, a pan and scan version is required to get the same wide aspect ratios that the 1.33:1 versions have. The original theatrical aspect ratio of 1.37:1 will be maintained, and the approximation is created by creating a pan and scan version from within the full frame. The result of the pan and scan process is that the 1.37:1 frame is softened, creating a softer, less intimidating visual effect. It may seem as though the 1.33:1 prints would have been easier to direct, but they had more image to work with. With the 2.39:1 version, the 1.33:1 image is multiplied into twice the vertical space, leaving more time to compose and light players and non-objects, thus enabling a tighter visual. The images also have expanded up to 2 times in depth and are not softening, but instead are enhanced through the use of digital media processing.
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