![]() They talk about a projectionist forgetting to apply mattes and letting mics and boom poles show, which happened quite often. ![]() They wouldn't physically crop the film, but they would block out the top and bottom based on specifications from the studio. But once the film was shipped to theaters, the projectionist would apply mattes. Films were designed for a wider aspect ratio, but they would still be shot at 1:1.33 Academy Ratio. Around the 50s-60s, theaters started adopting wider screens, and so did movie studios. What /u/mathemon is talking about is matting film, which is an even older tradition. But what you're describing is only the anamorphic process which explains most films at a 1:2.21-1:2.40 ratio. ![]() Nothing is cropped(except maybe the very edge of the frame for digital scanning) and the image is stretched(this is why those lens flares in Spielberg and Abrams films look the way they do). You're talking about anamorphic lenses, and that is why movies like The Dark Knight, Looper and Django Unchained use all of the film.
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