Aspect ratio is picture width divided by picture height. A smaller number here means a taller frame at the same width.
For an expanded IMAX movie, a 1.43:1 room can reveal the full tall composition, 1.90:1 shows a middle crop, and 2.39:1 shows the wide crop.
The same ticket label can deliver a different amount of picture. The movie must contain expanded imagery, and the room must be able to show it. A large screen showing a scope-only master does not invent more image.
Many IMAX releases protect a wide composition for ordinary cinemas and reveal more above and below during selected shots. The visible boundaries can change at a cut or within a sequence while projection continues normally. The film table records the tallest ratio and published duration for each title.
The important action is normally composed to survive the wider version. The tall presentation can add scale and context, but it should not be the only version in which the story makes sense.
The projectable image shape of horizontal 15/70 IMAX film, conventionally rounded from a reported 69.60 by 48.59mm aperture. IMAX uses 1.43:1 as its current public label for its tallest film and digital presentations.
IMAX 15/70 prints and specially mastered digital presentations in compatible GT Laser rooms. Only an operable 15/70 projector or 1.43-capable dual-laser system can fill this shape with a 1.43 master. A tall screen alone is not enough.
A standard 35mm flat projection shape. SMPTE specifies a 20.96mm image width and a minimum 11.33mm height for 1.85 projection.
Many non-anamorphic theatrical films. An IMAX venue can show 1.85 content with slight unused space at the sides of a 1.90 canvas, or within a 1.43 screen.
The full 4096 by 2160 DCI 4K container is approximately 1.896:1. IMAX uses the rounded 1.90:1 label for its common digital expanded presentation.
Dual-2K xenon, Commercial Laser, Laser XT, and GT Laser can present a 1.90 IMAX master. At equal width it provides up to about 26% more picture area than 2.39, if the master contains that additional image.
Cinematographer Vittorio Storaro promoted a 2:1 common composition called Univisium, positioned between television and wider theatrical shapes.
Some cinema and streaming productions use 2.00:1. Any IMAX room can show a 2.00 master, normally with narrow unused bands above and below a 1.90 canvas or larger bands on a 1.43 screen.
The normal screen shape of spherical 5-perf 70mm release printing after the larger 65mm camera image is reduced and masked for projection and soundtrack space.
Todd-AO, Super Panavision 70, and modern conventional 70mm prints commonly use it. IMAX rooms can show a 2.20 master letterboxed, and an IMAX 15/70 print can alternate between 2.20 footage and taller 1.43 footage.
The standardized modern anamorphic projection shape. SMPTE RP 40 specifies 2.39:1 for the anamorphic projector aperture.
A large share of widescreen feature films and the non-expanded portions of many IMAX releases. Every IMAX system can show it, with unused screen area above and below on 1.90 or 1.43 screens.
The nominal unsqueezed image from classic Camera 65 and Ultra Panavision photography, which applied a 1.25:1 anamorphic squeeze to the 5-perf 65mm frame.
Ben-Hur and modern Ultra Panavision productions such as The Hateful Eight use the process, although actual release masking can vary. IMAX can present a 2.76 master only letterboxed within its 1.90 or 1.43 canvas.
Miss any one condition and the audience receives a shorter picture. Use the full-height venue list together with the film lookup.