{"id":6978,"date":"2020-08-15T19:04:49","date_gmt":"2020-08-15T19:04:49","guid":{"rendered":"http:\/\/thesica.in\/?p=6978"},"modified":"2020-08-15T19:04:49","modified_gmt":"2020-08-15T19:04:49","slug":"vertical-cinema","status":"publish","type":"post","link":"https:\/\/thesica.in\/ta\/vertical-cinema\/","title":{"rendered":"Vertical Cinema!"},"content":{"rendered":"

Cinema viewing format always associated with either Box mode or Landscape Mode.<\/p>\n

Recently a short film made by Oscar Award winner Damien Chazelle in a Vertical Viewing Format is making news also knocking the doors to experiment a new method of cinematic composition.<\/p>\n

Vertical films is been in news for some years, there was even a film festival for this adventurous format.<\/p>\n

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The Vertical Film Festival<\/strong> (VFF) was established in 2014 as the world\u2019s first international competition for vertical videos: short films created and edited portrait orientation (9:16)<\/strong> for tall-screen projection in front of an audience. Regardless of theme or genre, the VFF is a showcase for artist-filmmakers who are exploring the creative potential of the vertical format while its visual language is still taking shape.<\/p>\n

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Vertical format composition is very much familiar in still photography but when it comes to cinema it was purely a horizontal viewing plane.<\/p>\n

There were some early experiments in the formats that made to bring a standard aspect ratio across the world.<\/p>\n

As cinema developed in the early 1900s , the intrusion of a new optical soundtrack onto the filmstrip pushed cinema’s width-to-height ratio close to square at one point (Fritz Lang\u2019s 1931 film M<\/em>\u00a0was 1.19:1 for example). Faced with multitudinous formats, Hollywood engineers of the Academy of Motion Picture Arts & Sciences met in 1930, determined to set a new standard.<\/p>\n

Russian filmmaker-theorist Sergei Eisenstein was against standardising horizontal format..he saw the horizontal rectangle as a throwback to the theatrical proscenium. Addressing the Academy he argued passionately for the possibilities of DYNAMIC SQUARE format calling for cinema to remain flexible to a variety of geometries.<\/p>\n

Coming back to recent short film by Damien Chazelle\u00a0\u00a0\u201cThe Stunt Double\u201d is a recollection of\u00a0 movies through silent film, Westerns, action flicks, musicals, romance, and more.<\/p>\n

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The whole 9 minute short film \u201cShot on iPhone\u201d…\u00a0Here, Chazelle highlights \u200ciPhone\u200c features like extended dynamic range, video stabilization, and the ultra-wide-angle lens, all things you get standard on the iPhone 11 Pro.<\/p>\n

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Apple also shared a behind-the-scenes video titled \u201cMaking Vertical Cinema,\u201d in which Chazelle described his process and his excitement in experimenting with vertical aspect ratio. The behind-the-scenes video also features interviews with Oscar-winning cinematographer\u00a0Linus Sandgren, BAFTA-winning production designer\u00a0designer Shane Valentino, costume designer April Napier, and more, and gives some tips on filming with a\u00a0wide angle lens and \u201chow to compose shots for the vertical screen.\u201d<\/p>\n

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Vertical composition works well with composition revealing height and characters of top to bottom movements as opposed to left to right in regular landscape format.<\/p>\n

Care has to be taken while composing close ups of faces and conversation between two characters, the negative space it creates can be balanced using visual elements.<\/p>\n

Now in Chennai there is a post production studio for Vertical film making…details yet to be made official.<\/p>\n

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C.J.Rajkumar<\/strong><\/p>\n

Author\/Cinematographer.<\/strong><\/p>\n

 <\/p>\n

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Cinema viewing format always associated with either Box mode or Landscape Mode. Recently a short film made by Oscar Award winner Damien Chazelle in a Vertical Viewing Format is making news also knocking the doors to experiment a new method of cinematic composition. Vertical films is been in news for some years, there was even […]<\/p>\n","protected":false},"author":2,"featured_media":6984,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"translation":{"provider":"WPGlobus","version":"2.8.1","language":"ta","enabled_languages":["en","ta"],"languages":{"en":{"title":true,"content":true,"excerpt":false},"ta":{"title":false,"content":false,"excerpt":false}}},"_links":{"self":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts\/6978"}],"collection":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/comments?post=6978"}],"version-history":[{"count":2,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts\/6978\/revisions"}],"predecessor-version":[{"id":6987,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts\/6978\/revisions\/6987"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/media\/6984"}],"wp:attachment":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/media?parent=6978"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/categories?post=6978"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/tags?post=6978"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}