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Aspect Ratio and Compositional Theory

Aspect Ratio and Compositional Theory

Polish drama called Ida, shot in stunning high-contrast black and white in a 1.33 aspect ratio by Lukasz Zal and Ryszard Lenczewski, is perhaps the most surprising choice of all, and it's a choice from which we can learn a great deal about just how important composition can be to the image creation process. #cinematography

These Static Frames from Oscar Contender 'Ida' Show Why Composition is King

Polish drama called Ida, shot in stunning high-contrast black and white in a 1.33 aspect ratio by Lukasz Zal and Ryszard Lenczewski, is perhaps the most surprising choice of all, and it's a choice from which we can learn a great deal about just how important composition can be to the image creation process. #cinematography

Film Studies 101: A Beginner's Guide To Aspect Ratios | Features | Empire

Film Studies 101: A Beginner's Guide To Aspect Ratios | Features | Empire

Badlands Directed by: Terrence Malick Cinematography: Tak Fujimoto, Stevan Larner, Brian Probyn Cameras: Panavision Format: 35mm (Kodak) Mode: Spherical Aspect Ratio: 1.85:1 Images from Criterion...

Badlands Directed by: Terrence Malick Cinematography: Tak Fujimoto, Stevan Larner, Brian Probyn Cameras: Panavision Format: 35mm (Kodak) Mode: Spherical Aspect Ratio: 1.85:1 Images from Criterion...

The Grand Budapest Hotel (2014) What a wild ride from the mind of Wes Anderson!  From the visually stunning stylized look to the bizarre story and insane characters (a who's who's cast) it just is a wonder!

The Grand Budapest Hotel (2014) What a wild ride from the mind of Wes Anderson! From the visually stunning stylized look to the bizarre story and insane characters (a who's who's cast) it just is a wonder!

amazing cinematography: Prisoners (2013) Directed by: Denis Villeneuve...

amazing cinematography: Prisoners (2013) Directed by: Denis Villeneuve...

Best NFL Playoff Games of the Millennium|Epoch Times #newspaper #editorialdesign

Best NFL Playoff Games of the Millennium|Epoch Times #newspaper #editorialdesign

The Double (2013) Directed by: Richard Ayoade Cinematography: Erik Wilson Cameras: Arricam ST/LT Format: 35mm (Kodak Vision3 200T 5213, Kodak Vision3 500T 5219) Mode: Spherical (3-perf) Aspect Ratio: 1.85:1

The Double (2013) Directed by: Richard Ayoade Cinematography: Erik Wilson Cameras: Arricam ST/LT Format: 35mm (Kodak Vision3 200T 5213, Kodak Vision3 500T 5219) Mode: Spherical (3-perf) Aspect Ratio: 1.85:1

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