1.66:1 is still matted, and is still quite a bit of information on the top and bottom lopped off if originally animated in 1.33:1.davemerrill wrote:
Hard to spot those boom mikes in animated films, I guess.
When Galaxy Express screened in Toronto a few years back, it was a 35mm print that certainly seemed 1.66:1 - not widescreen, by any means.
Matt Murray was working on one of his CPF videos about Galaxy Express, and he had me rip some video from the laser discs of the film for it. At first I was like "what are you talking about" when he said the Discotek DVD was a cropped HD transfer, but darned if he wasn't right.
That said, if it screened in theatres in 1.66:1, I'd want it in EITHER 1.66:1 or 1.33:1, not 1.78:1 (or wider.)
Many anime films that were definitively screened in 1.85:1 in theatres (like Ghibli's) were actually still originally animated in 1.33:1. In storyboards, what they would sometimes do was draw a box around the area that would be displayed in theatres just so they can make sure the composition wouldn't be completely compromised when matted, but they still draw some extra stuff outside the box anyway, because probably (this is just my theory though) in those days they also knew that when the movies eventually aired on TV and released on video, that must also be taken into consideration. I think they were much more cognizant of how their movies would look on TV and figured that in the long run that would be the primary mode in which their films would be viewed. But that doesn't mean that the compositions in 1.66:1 were invalid.
I actually haven't seen a whole lot of anime releases that completely changed the OAR (in terms of how they were shown in theatres) aside from Toei's stuff (and the OAR issue isn't even the worst part of Toei's GE999 restoration). I've got a bunch of anime films on blu ray in 1.33:1 (Ninja Scroll, Vampire Hunter D) and I'm sure even a few in 1.66:1.SteveH wrote:'cropped to create faux widescreen' sucks. I'm a die-hard OAR (Original Aspect Ratio' person bar non.
It just messes up the composition of the frame. In the case of the GE999 movie it just shifts things enough to take some of the magic out of Rin Taro's direction. When he put some open space over the head of a character he MEANT to do that.
Blah blah. I'll be sad if My Youth in Arcadia suffers the same fate. I know Discotek is helpless if that's the master Toei gives them.
It seems we've really entered the twilight zone. At first video companies and studios resisted making things letterboxed or otherwise widescreen because people would complain about all that 'missing' picture (you would not believe some of the anger some people would express about that!) and those horrid black bars across the top and bottom of the screen.
NOW, now, it seems there's a subset of the home video audience that can't handle movies that were filmed 'flat' or anything pre-Cinemascope and Panavision et al. A square picture on my $5000 curved 3D TV?! NEVER! NEVER!