Conversion
For word processing and office type applications, vertical measurement can be more important than diagonal measurement when determining size requirements. When monitors are sold the quoted size is the diagonal measurement of the display area. Because of the different ratio, a 16:10 monitor will have a smaller vertical size than a 4:3 monitor of the same advertised size. To find the diagonal measurement of widescreen monitor that would have the same vertical measurement as a known 4:3 monitor, you must multiply the diagonal measurement of the 4:3 monitor by 1.132. Via a similar calculation, to convert between the diagonal measurement of a 5:4 monitor to the diagonal measurement of a 16:9 monitor having the same vertical measurement, one would multiply by 1.274.
For example to have the same vertical height as a 4:3 19" monitor, a 16:10 widescreen monitor would need to be (19" x 1.132 ) = 21.508". Furthermore, to have the same vertical height as a 5:4 17" monitor, a 16:9 widescreen monitor would need to be (17" x 1.274) = 21.658".
Types
Masked (or flat). Introduced in April 1953. The negative is shot exposing the Academy Ratio using spherical lenses, but the top and bottom of the picture are hidden or masked off a metal aperture plate, cut to specifications of the theater's screen, in the projector. Alternatively, a hard matte in the printing or shooting stages may be used to mask off those areas while filming for composition purposes, but an aperture plate is still used to block off the appropriate areas in the theater. A detriment is that the film grain size is thus increased because only part of the image is being expanded to full height. Films are designed to be shown in cinemas in masked widescreen format but the full unmasked frame is sometimes used for television. In such an instance, a photographer will compose for widescreen, but "protect" the full image from things such as microphones and other filming equipment.
Super gauges The full negative frame, including the area traditionally reserved for the sound track, is filmed using a wider gate. The print is then shrunk and/or cropped in order to fit it back onto release prints. The aspect ratio for Super 35, for example, can be set to virtually any projection standard.
Large gauge A 70 mm film frame is not only twice as wide as a standard frame but also has greater height. Shooting and projecting a film in 70 mm therefore gives more than twice the image area of non-anamorphic 35 mm film with no loss of quality. Few major dramatic narrative films have been filmed entirely on this format since the 1970s; the two most recent are Ron Howard's Far and Away and Kenneth Branagh's Hamlet. For many years, large budget pictures shot anamorphically used reserve stocks of 70mm film for SFX shots involving CGI or blue-screen compositing as the anamorphic format creates problems with said effects. It has also been used to sometimes strike 70 mm blow-up prints for "roadshow" tours in select cities from the 35 mm camera negative in order to capitalize on the extra sound channels provided. The introduction of digital sound systems and diminishing number of installed 70 mm projectors has made a 70 mm release largely obsolete. However, blowups from 35 mm formats to IMAX has recently become popular for a limited number of blockbuster films.
Paramount's VistaVision was a larger gauge precursor to 70 mm film. Introduced in 1954, it ran standard 35 mm film through the camera horizontally to achieve a widescreen effect using greater negative area, in order to create a finer-grained 35 mm prints in an era where standard monopack stock could not produce finer results. Frames were eight perforations wide. Eight-perf photography is sometimes used for shooting special effects in order to produce a finer grained matte that can be used in optical printing without image degradation, and is notable for its use in Lucasfilm's original three Star Wars films, among others.
Multiple cameras/projectors The Cinerama system originally involved shooting with three synchronized cameras locked together side by side, and projecting the three resulting films on a curved screen with three synchronized projectors, resuting in an ultra wide aspect ratio of 2.89. Later Cinerama movies were shot in 70 mm anamorphic (see below), and the resultant widescreen image was divided into three by optical printers to produce the final threefold prints.
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