From the Summer 1994 issue of the Operating Cameraman

Aspect ratio, as many of you know, refers to the width of a displayed image compared to height. The shape of the frame surrounding one's work is obviously one of the most elemental concerns of a visual artist.

Over the past several years, the technical community has been engaged is a debate over the various elements of a new television standard to replace the venerable but long-outdated NTSC standard. One of these elements under debate is aspect ratio.

The currently proposed standard aspect ratio of HDTV is 1.78:1 or 16x9. If there is logical reasoning for this particular aspect ratio, it is cloaked in mystery. Several theories exist as to how the numbers were arrived at; none are irrefutable. One thing is certain: when 1.78:1/16x9 was conceived and sanctioned by the technical and manufacturing communities, the artistic community was not part of the discussion.

The 16x9 ratio also flies in the face of forty years of Hollywood feature film wide screen production. This HDTV standard would from the beginning be crippled in its ability to properly display a large portion of the largest existing library of programming.

This decision will affect the visual aesthetic of all new production as well as irrevocably alter how all motion picture work from the past will be seen by future audiences. The ASC, which represents the filmmakers most concerned with composition, and which carries a proud 75 year history of defending artistic integrity, is compelled to enter the debate.

It may be enlightening to look back 50 years for precedent. In September, 1940, Dr. George R. Town of the National Television System Committee wrote:

"...In motion pictures, the standard aspect ratio is 4:3 (1.33:1). If the same ratio is used in television, the full area of a motion picture frame may be used efficiently as subject matter for television transmission. If any other aspect ratio is chosen, either one edge of the picture will be cut off, or the received picture will not completely fill the...screen. Since neither of these alternatives is desirable, an aspect ratio of 4:3 (1.33:1) is seen to have a distinct advantage over any other.

"Conclusion... The ratio 4:3 permits the most efficient use of motion picture film."

Helping filmmakers get their vision to the audience should be the goal of the motion picture technological community. That's what draws audiences back and contributes to our mutual success. Cinematographers, as visual storytellers, play a crucial role in creating emotions that help tell stories through images. What could be more important to these painters with light than the shape of their canvas? The best way for the audience to feel those emotions and understand the stories is by viewing them as close to the original intent of the artist as possible.

The film and television industries are at a critical crossroads. Cinema images have always been faced with compromise when adapted to video. We have the rare opportunity to end that struggle, to resolve the tension between film images and video images.

We as cinematographers have come to the conclusion that an aspect ratio can be designed to show older material as it was originally conceived. Additionally, the aspect ratio has the potential to become an exciting new medium for future production. The best of both worlds is within our reach: a filmmaker's work can be shown in the frame he or she intended for its entire life, regardless of display method.

The simple and elegant aspect ratio capable of bringing harmony to compositions in both film and HDTV is 2:1.

While the ASC would prefer an aspect that matches our current widest screen production standard of 2.40:1, we realize that practical engineering and manufacturing requirements must also be considered. Thus the ASC advocates 2:1 as an adequate, if not ideal standard ratio.

The ASC understands that in the short term, this aspect ratio (under the current proposals offered by the Grand Alliance) would result in a modest increase in the width, depth and price of a High Definition receiver. The 2:1 aspect ratio would also most likely require a slight reduction in resolution over 1.78:1, but correct aspect ratio of display is generally speaking of much more crucial importance to storytelling than a negligible reduction in display resolution.

The 2:1 standard would allow previous material to be faithfully displayed in its original aspect ratio with insignificant letterboxing. Turning an eye towards future feature and HD production, many cinematographers are attracted to the symmetry and simplicity of the 2:1 ratio itself.

If the proposed 1.78:1/16x9 ratio is adopted, the war between film and video aspect ratios will continue. Few filmmakers will look favorably on retreating to a narrow standard. At the same time, video has much to gain by adopting a wider, more "cinematic" ratio.

The details of our proposal are:

• Every original film work would be mastered and distributed over U.S. ATV (Advanced Television) in its native aspect ratio. This might be 2.4:1, 2.2:1, 1.85:1, 1.66:1 or 1.33:1 (or 1.78:1 if in the current HDTV format).
• The ATV system should be deployed so that all ATV receivers have a 2:1 aspect ratio, at any and all standards at which they might operate.
• A universal header/descriptor would describe the aspect ratio and would specify the correct presentation, using letterbox, or side panel blackout.
• Film will, as is current practice, continue to be mastered and distributed at 24 frames per second (this is already part of the ATV proposal).