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The pan and scan technique is a film editing method that adapts widescreen images for fullscreen display by cropping the sides and then panning across the remaining portion.
Answer: True
The pan and scan technique is accurately defined as a method that adapts widescreen images for fullscreen display by cropping the lateral portions and subsequently panning across the remaining segment to maintain the focus of the shot.
During pan and scan, editors may 'cut' directly between actors at opposite ends of the frame to avoid rapid panning.
Answer: True
During pan and scan, editors may indeed 'cut' directly between actors at opposite ends of the frame to avoid disorienting rapid panning, though this can disrupt the original flow of the scene.
A benefit of pan and scan is that it preserves maximum image resolution by utilizing all available vertical video scan lines, especially for NTSC televisions.
Answer: True
A benefit of the pan and scan method, particularly for NTSC televisions, is that it utilizes all available vertical video scan lines, thereby preserving maximum image resolution and providing a full-screen image.
In pan and scan, 'cropping' refers to the horizontal movement across the image, while 'panning' refers to cutting off the sides.
Answer: False
In pan and scan, 'cropping' refers to cutting off the sides of a widescreen image, while 'panning' refers to the horizontal movement across the remaining cropped image to follow the action.
Pan and scan was particularly important for NTSC televisions because it allowed for the use of all available vertical video scan lines, maximizing resolution.
Answer: True
The pan and scan method was particularly important for NTSC televisions because it utilized all available vertical video scan lines, thereby preserving maximum image resolution on these lower-resolution screens.
What is the fundamental purpose of the pan and scan film editing technique?
Answer: To adapt widescreen images for display on a fullscreen screen by cropping and panning.
The fundamental purpose of pan and scan is to adapt widescreen films for display on narrower, fullscreen televisions by cropping the sides and panning across the remaining image to follow the action.
During the pan and scan process, what action does an editor take when the important action shifts horizontally across the frame?
Answer: The operator moves the scanner to follow the action, creating a panning effect.
During the pan and scan process, when important action shifts horizontally across the frame, the operator moves the scanner to follow it, thereby creating a panning effect that keeps the main subjects visible within the narrower screen.
How do editors typically handle scenes with rapid conversation between actors at opposite ends of the frame during pan and scan?
Answer: They 'cut' directly from one actor to the other.
In scenes with rapid conversation between actors at opposite ends of the frame, editors typically 'cut' directly from one actor to the other during pan and scan to avoid disorienting rapid panning, though this alters the original flow.
What is a key benefit of the pan and scan method, particularly for NTSC televisions?
Answer: It preserves maximum image resolution by utilizing all available vertical video scan lines.
A key benefit of the pan and scan method, especially for NTSC televisions, is its ability to preserve maximum image resolution by utilizing all available vertical video scan lines, providing a full-screen image.
In the context of pan and scan, what is the difference between 'cropping' and 'panning'?
Answer: Cropping is cutting off the sides of an image, while panning is horizontal movement across the remaining image.
In pan and scan, 'cropping' refers to cutting off the sides of a widescreen image to fit a narrower screen, while 'panning' refers to the horizontal movement across the remaining cropped image to follow the action or focus of a scene.
Before modern home media formats, pan and scan was commonly used with VHS tapes to make widescreen films compatible with 4:3 televisions.
Answer: True
Pan and scan was indeed commonly used with VHS tapes before modern home media formats to adapt widescreen films for the prevalent 4:3 aspect ratio televisions of the era.
The standard aspect ratio for most theatrical films before 1960 and for early television broadcasting was 16:9.
Answer: False
The standard aspect ratio for most theatrical films before 1960 and for early television broadcasting was 4:3 (1.33:1), not 16:9.
Filmmakers in the early to mid-1950s adopted widescreen formats primarily to reduce production costs.
Answer: False
Filmmakers in the early to mid-1950s adopted widescreen formats primarily to compete with the rising popularity of television by offering a more immersive cinematic experience, not to reduce production costs.
On what type of home media was pan and scan commonly used before the advent of modern widescreen formats like DVD and Blu-ray?
Answer: VHS tapes.
Before modern widescreen home media, pan and scan was commonly used with VHS tapes to make widescreen films compatible with the prevalent 4:3 aspect ratio televisions of the time.
What was the standard aspect ratio for most theatrical films before 1960 and for early television broadcasting?
Answer: 4:3 (1.33:1).
The standard aspect ratio for most theatrical films before 1960 and for early television broadcasting was 4:3 (1.33:1).
Why did filmmakers in the early to mid-1950s begin adopting widescreen formats?
Answer: To compete with the growing popularity of television by offering a more immersive experience.
Filmmakers in the early to mid-1950s adopted widescreen formats to compete with television's growing popularity, aiming to draw audiences to theaters with a more immersive cinematic experience.
The primary visual consequence of pan and scan is the addition of black bars to the top and bottom of the image to preserve the original aspect ratio.
Answer: False
The primary visual consequence of pan and scan is the loss of key visual elements from the original widescreen image due to cropping, rather than the addition of black bars, which is characteristic of letterboxing.
Pan and scan has been widely praised for preserving the director's original vision by ensuring all visual information is displayed on any screen.
Answer: False
Pan and scan has been widely criticized for *compromising* the director's original vision by removing substantial portions of the original image, not praised for preserving it.
A film with a 2.35:1 aspect ratio can lose up to 43% of its original image when subjected to pan and scan.
Answer: True
For films with a 2.35:1 aspect ratio, up to 43% of the original image can indeed be lost when subjected to pan and scan, significantly altering the visual composition.
Pan and scan can transform a single continuous shot into one with multiple cuts, altering the film's original pacing.
Answer: True
Pan and scan can indeed transform a single continuous shot into one with multiple cuts or change a stationary shot into one with frequent panning, thereby altering the film's original pacing and atmosphere.
Film critics Gene Siskel and Roger Ebert were notable proponents of the pan and scan technique.
Answer: False
Film critics Gene Siskel and Roger Ebert were notable *opponents* of the pan and scan technique, consistently advocating for films to be presented as originally intended by their creators.
Amateur online critics have used terms like 'pan and scam' and 'fool screen' to express disapproval of pan and scan.
Answer: True
Amateur online critics have indeed used derogatory terms such as 'pan and scam' and 'fool screen' to express their strong disapproval of pan and scan.
For 2.76:1 films, pan and scan can result in a loss of up to 52% of the original image.
Answer: True
For 2.76:1 films, pan and scan can result in a loss of up to 52% of the original image, representing a substantial alteration of the filmmaker's visual scope.
The primary function of a cinematographer is to manage the film's budget and schedule.
Answer: False
The primary function of a cinematographer is to be the chief over the camera and light crews, responsible for artistic and technical decisions related to the image, not to manage the film's budget and schedule.
Pan and scan can alter a film's pacing and atmosphere by changing static shots into panning shots or continuous shots into multiple cuts.
Answer: True
Pan and scan can indeed significantly impact a film's pacing and atmosphere by altering cinematic effects, such as changing static shots into panning ones or continuous shots into multiple cuts.
Which of the following is the primary visual consequence of using pan and scan?
Answer: The loss of key visual elements from the original widescreen image due to cropping.
The primary visual consequence of pan and scan is the significant loss of key visual elements from the original widescreen image due to the necessary cropping for fullscreen display.
Why has pan and scan been widely criticized since its inception?
Answer: It removes substantial portions of the original image, compromising the director's vision.
Pan and scan has been widely criticized because it removes substantial portions of the original image, which can alter cinematic effects, impact pacing and atmosphere, and ultimately compromise the director's original vision.
What percentage of the original image can be lost when a film with a 2.35:1 aspect ratio is subjected to pan and scan?
Answer: Up to 43%.
For films with a 2.35:1 aspect ratio, up to 43% of the original image can be lost when subjected to pan and scan.
Beyond cropping, what is a significant drawback of the pan and scan method regarding a film's presentation?
Answer: It can change a stationary shot into one with frequent panning or transform a continuous shot into multiple cuts.
Beyond cropping, a significant drawback of pan and scan is its capacity to alter a film's original presentation by changing stationary shots into panning ones or continuous shots into multiple cuts, thereby impacting pacing and atmosphere.
In the film 'Oliver!', how did the pan and scan version alter the dramatic timing of a murder scene compared to the original Panavision version?
Answer: It showed Oliver's reaction as the murder was committed, but not Sikes stepping back to reveal Oliver watching.
In the pan and scan version of 'Oliver!', the dramatic timing of a murder scene was altered as it showed Oliver's reaction during the murder, but omitted Sikes stepping back to reveal Oliver watching, which was present in the original Panavision version.
Which well-known film critics were vocal in their opposition to pan and scan?
Answer: Roger Ebert and Gene Siskel.
Prominent film critics Gene Siskel and Roger Ebert were vocal in their opposition to pan and scan, consistently advocating for films to be presented as originally intended by their creators.
What derogatory terms have amateur online critics used to describe pan and scan?
Answer: Pan and scam and fool screen.
Amateur online critics have used derogatory terms such as 'pan and scam' and 'fool screen' to express their strong disapproval of the pan and scan technique and its perceived negative impact on the cinematic experience.
What is the maximum percentage of the original image that can be lost for 2.76:1 films due to pan and scan?
Answer: Up to 52%.
For extremely wide 2.76:1 films, the maximum percentage of the original image that can be lost due to pan and scan is as high as 52%, representing a significant alteration of the filmmaker's intended visual scope.
What is the primary function of a cinematographer in filmmaking?
Answer: To be the chief over the camera and light crews, responsible for artistic and technical decisions related to the image.
The primary function of a cinematographer is to be the chief over the camera and light crews, responsible for artistic and technical decisions related to the image, working closely with the director to realize their visual vision.
How does pan and scan affect the pacing and atmosphere of a film?
Answer: It can alter cinematic effects, changing static shots into panning ones or continuous shots into multiple cuts, thus impacting pacing and atmosphere.
Pan and scan can significantly impact a film's pacing and atmosphere by altering original cinematic effects, such as transforming static shots into panning ones or continuous shots into multiple cuts, thereby changing the rhythm and intended mood.
Tilt and scan is the horizontal equivalent of pan and scan, used to adapt older films for modern widescreen formats.
Answer: False
Tilt and scan is the *vertical* equivalent of pan and scan, employed to adapt older, more square aspect ratio films for modern widescreen formats by cropping the top and bottom and tilting vertically.
Letterboxing maintains a film's original aspect ratio on a 4:3 screen by adding black bars above and below the image.
Answer: True
Letterboxing is indeed a method that maintains a film's original aspect ratio on a 4:3 screen by adding black bars above and below the image.
Reframing is a modern alternative to pan and scan that involves directly adjusting the source material, sometimes using 'open matte' transfers.
Answer: True
Reframing is a modern alternative to pan and scan that involves directly adjusting the source material, which can include using 'open matte' transfers or physically moving elements within the shot.
The reframing approach to full-screen versions is commonly used across all film productions.
Answer: False
The reframing approach to full-screen versions is *rarely* used, primarily limited to computer-generated features and certain video games due to the flexibility of CGI.
An 'open matte' image contains less vertical picture information than what was shown in cinemas.
Answer: False
An 'open matte' image contains *more* vertical picture information than what was shown in cinemas, as the theatrical version is typically cropped from this larger frame.
When using an expanded open matte image, extraneous objects like microphone booms can become visible if special effects were done within the theatrical aspect ratio.
Answer: True
When using an expanded open matte image, extraneous objects such as microphone booms can indeed become visible because special effects were generally done within the theatrical aspect ratio, not necessarily for the full uncropped frame.
The 'Dragon Ball' movies used open matte for their theatrical release to ensure a wider cinematic experience.
Answer: False
The 'Dragon Ball' movies used open matte for their *VHS releases* to be nearly uncropped, while their theatrical release was in a cropped 1.85:1 aspect ratio from the original 1.37:1 animation.
Pillarboxing adds black bars on either side of an image to maintain its original aspect ratio on a widescreen TV, preventing vertical cropping.
Answer: True
Pillarboxing correctly adds black bars on either side of a narrower image to maintain its original aspect ratio on a widescreen TV, preventing horizontal stretching or vertical cropping.
What is the vertical equivalent of pan and scan, used for adapting older films to modern widescreen formats?
Answer: Tilt and scan.
The vertical equivalent of pan and scan, used to adapt older, more square aspect ratio films for modern widescreen formats, is known as 'tilt and scan' or 'reverse pan and scan'.
What was the alternative method to pan and scan for displaying widescreen films on 4:3 screens, characterized by black bars?
Answer: Letterboxing.
Letterboxing was the alternative method to pan and scan for displaying widescreen films on 4:3 screens, characterized by adding black bars above and below the image to preserve the original aspect ratio.
What is 'reframing' as a modern alternative to pan and scan?
Answer: A method that involves directly adjusting the source material, sometimes using 'open matte' transfers.
Reframing is a modern alternative to pan and scan that involves directly adjusting the source material, which can include using 'open matte' transfers or physically moving elements within the shot to fit the desired frame.
In what types of productions is the reframing approach to full-screen versions primarily used?
Answer: Computer-generated features and certain video games.
The reframing approach to full-screen versions is primarily used in computer-generated features and certain video games, where the flexibility of CGI allows for easier manipulation of the frame without losing original information.
What does 'open matte' allow the compositor to do in relation to the original widescreen theatrical image?
Answer: To 'zoom out' or 'un-crop' the image, adding extra visual content at the top and/or bottom.
Open matte allows the compositor to 'zoom out' or 'un-crop' the image, adding extra visual content at the top and/or bottom that was not seen in the theatrical widescreen version.
What is an 'open matte' image?
Answer: An original film image that includes visual information extending above and below the widescreen theatrical image.
An 'open matte' image is an original film image that contains more vertical visual information than what was shown in cinemas, extending above and below the widescreen theatrical image.
What potential issue can arise when using an expanded open matte image, especially concerning special effects?
Answer: Extraneous objects like microphone booms, not intended for the theatrical frame, can become visible.
When using an expanded open matte image, extraneous objects such as microphone booms or cables, which were not intended for the theatrical frame, can become visible because special effects were typically done within the theatrical aspect ratio.
What was the unusual application of the open matte technique in the original 'Dragon Ball' movies?
Answer: They were animated in 1.37:1, displayed in 1.85:1 theatrically, and then nearly uncropped for VHS releases.
The 'Dragon Ball' movies uniquely applied open matte by animating in 1.37:1, displaying in 1.85:1 theatrically, and then nearly uncropping for VHS releases, effectively using open matte for home video rather than theatrical presentation.
What is the purpose of 'pillarboxing' an image on a widescreen TV?
Answer: To add black bars on either side of a narrower image to maintain its original aspect ratio.
The purpose of pillarboxing an image on a widescreen TV is to add black bars on either side of a narrower image, such as a 4:3 film, to maintain its original aspect ratio without stretching or cropping vertically.
What is the general rule regarding special effects in relation to the theatrical aspect ratio when using open matte, prior to widespread DVD adoption?
Answer: Special effects were typically done within the theatrical aspect ratio, not necessarily for the full open matte frame.
Prior to widespread DVD adoption, special effects were generally done within the theatrical aspect ratio when using open matte, meaning they were not necessarily designed for the full, uncropped frame, which could lead to unintended elements becoming visible in expanded versions.
The Voyager Company's 1986 policy change led to LaserDisc releases being exclusively in pan and scan format.
Answer: False
The Voyager Company's 1986 policy change led to LaserDisc releases being exclusively in their *original aspect ratio*, not in pan and scan format, influencing other home video labels to follow suit.
Widescreen televisions, introduced in the 1990s, allowed films with 1.66:1 and 1.85:1 aspect ratios to fill most or all of the screen.
Answer: True
Widescreen televisions, introduced in the 1990s, did indeed allow films with 1.66:1 and 1.85:1 aspect ratios to fill most or all of the screen, reducing the need for letterboxing or cropping.
The expression '16:9 – Enhanced for Widescreen TVs' on DVD packaging indicated content optimized for traditional 4:3 displays.
Answer: False
The expression '16:9 – Enhanced for Widescreen TVs' on DVD packaging indicated content optimized for *widescreen* displays, not traditional 4:3 displays.
Films with extremely wide aspect ratios like 2.76:1 ('Ben-Hur') can still present display challenges even on widescreen televisions.
Answer: True
Films with extremely wide aspect ratios, such as 2.76:1, can indeed still present display challenges even on modern widescreen televisions, often requiring letterboxing to preserve their original composition.
Anamorphically enhanced DVDs or high-definition telecasts on widescreen TVs result in larger black spaces (letterboxing).
Answer: False
Anamorphically enhanced DVDs or high-definition telecasts on widescreen TVs result in *smaller* black spaces (letterboxing), providing a more immersive and accurate presentation of the original aspect ratio.
The 'shoot and protect' technique ensures that vital information is kept within a 'TV-safe area' when filming in a wider aspect ratio.
Answer: True
The 'shoot and protect' technique involves cinematographers composing shots to keep vital information within a 'TV-safe area' of the frame, even when filming in wider aspect ratios, to prevent loss during television adaptation.
The BBC suggested program makers frame 16:9 content in a 16:9 aspect ratio for analogue services to avoid black bars.
Answer: False
The BBC suggested program makers frame 16:9 content in a *14:9* aspect ratio for analogue services to allow small black bars, while ensuring widescreen digital TV sets would see the full 16:9 picture.
Pan and scan broadcasts are common in Europe for all programming due to the PAL TV format's higher resolution.
Answer: False
In Europe, pan and scan broadcasts and movie DVDs are relatively *rare*, typically only seen for family programming, as the PAL TV format generally favors preserving the original aspect ratio due to its higher resolution.
Sydney Pollack intentionally shot 'Out of Africa' in a matted 1.85:1 aspect ratio to avoid pan and scan 'butchering' his films.
Answer: True
Sydney Pollack intentionally shot 'Out of Africa' in a matted 1.85:1 aspect ratio precisely to avoid the 'butchering' of his films by the pan and scan process, demonstrating a director's active resistance.
A Danish court ruled in favor of Sydney Pollack, stating that pan and scan constituted a 'mutilation' of his film 'Three Days of the Condor.'
Answer: False
While a Danish court ruled that pan and scan constituted a 'mutilation' of Sydney Pollack's film 'Three Days of the Condor' and a violation of his 'droit moral,' it ultimately sided with the defendant in the case.
Woody Allen readily released pan and scan versions of his films to ensure wider audience accessibility.
Answer: False
Woody Allen *refused* to release a pan and scan version of his 1979 film 'Manhattan,' demonstrating a commitment to preserving the original cinematic presentation, contrary to readily releasing such versions.
Steven Spielberg successfully avoided pan and scan releases for 'Raiders of the Lost Ark' but conceded for 'The Color Purple.'
Answer: False
Steven Spielberg successfully avoided pan and scan releases for 'The Color Purple' and 'Always,' but eventually conceded to a pan and scan home video release for 'Raiders of the Lost Ark.'
Phil Lord and Christopher Miller created two distinct versions of 'The Lego Movie' to prevent a panned and scanned TV broadcast.
Answer: True
Phil Lord and Christopher Miller created two distinct versions of 'The Lego Movie' (anamorphic 2.39:1 and 1.37:1 open matte spherical format) specifically to avoid a panned and scanned version for television broadcasts.
The term 'droit moral' refers exclusively to the economic copyrights an artist holds over their work.
Answer: False
The term 'droit moral' refers to moral rights, which are a set of rights granted to authors and artists, distinct from and often broader than economic copyrights, including the right to integrity of their work.
What significant policy change did the Voyager Company implement in 1986 regarding LaserDisc releases?
Answer: They made it policy to release widescreen films exclusively in their original aspect ratio.
In 1986, the Voyager Company implemented a policy to release widescreen films on LaserDisc exclusively in their original aspect ratio, influencing other home video labels to adopt similar practices.
How did the introduction of widescreen televisions in the 1990s impact the display of films with 1.66:1 and 1.85:1 aspect ratios?
Answer: It allowed these films to fill most or all of the screen, reducing the need for cropping or letterboxing.
The introduction of widescreen televisions in the 1990s allowed films with 1.66:1 and 1.85:1 aspect ratios to fill most or all of the screen, thereby reducing the need for extensive letterboxing or cropping.
What expression became common on DVD packaging to indicate optimization for widescreen TVs?
Answer: 16:9 – Enhanced for Widescreen TVs
The expression '16:9 – Enhanced for Widescreen TVs' became common on DVD packaging to indicate that the content was optimized for widescreen displays, leveraging the capabilities of modern televisions.
Which film aspect ratio might still present display challenges on televisions, even widescreen ones, often requiring letterboxing?
Answer: 2.35:1.
Films with very wide aspect ratios, such as 2.35:1 or 2.76:1, can still present display challenges on televisions, even widescreen ones, often necessitating letterboxing to preserve their original composition.
How do anamorphically enhanced DVDs or high-definition telecasts improve the viewing experience of widescreen films on widescreen TVs?
Answer: They result in smaller black spaces (letterboxing), providing a more immersive presentation.
Anamorphically enhanced DVDs or high-definition telecasts on widescreen TVs improve the viewing experience by resulting in smaller black spaces (letterboxing), which provides a more immersive and accurate presentation of the original aspect ratio.
What is the 'shoot and protect' technique adopted by cinematographers?
Answer: Composing shots to keep vital information within a 'TV-safe area' even when filming in wider aspect ratios.
The 'shoot and protect' technique involves cinematographers composing shots to keep vital information within a 'TV-safe area' of the frame, even when filming in wider aspect ratios, to ensure key elements are not lost during television adaptation.
What did the BBC suggest to program makers recording in 16:9 regarding framing for analogue services?
Answer: Frame in a 14:9 aspect ratio to allow small black bars on analogue services.
The BBC suggested that program makers recording in 16:9 should frame their shots in a 14:9 aspect ratio for analogue services, allowing for small black bars while ensuring widescreen digital TV sets would see the full 16:9 picture.
Which film director intentionally shot 'Out of Africa' in a matted 1.85:1 aspect ratio due to frustration with pan and scan?
Answer: Sydney Pollack.
Sydney Pollack intentionally shot 'Out of Africa' in a matted 1.85:1 aspect ratio due to his frustration with the pan and scan process 'butchering' his films.
What was the outcome of Sydney Pollack's 1991 lawsuit against a Danish public television channel for airing a pan and scan version of 'Three Days of the Condor'?
Answer: The court ruled that pan and scan was a 'mutilation' but ultimately sided with the defendant.
In Sydney Pollack's 1991 lawsuit, the Danish court ruled that pan and scan constituted a 'mutilation' of his film and a violation of his 'droit moral,' but ultimately sided with the defendant.
Which prominent director refused to release a pan and scan version of his 1979 film 'Manhattan'?
Answer: Woody Allen.
Woody Allen refused to release a pan and scan version of his 1979 film 'Manhattan,' demonstrating his commitment to preserving the original cinematic presentation.
For which film did Steven Spielberg eventually concede to a pan and scan home video release, despite avoiding it for others?
Answer: 'Raiders of the Lost Ark' (1981).
Steven Spielberg eventually conceded to a pan and scan home video release for 'Raiders of the Lost Ark' (1981), despite successfully avoiding it for 'The Color Purple' and 'Always'.
How did Phil Lord and Christopher Miller ensure 'The Lego Movie' would not be subjected to a panned and scanned version for TV broadcasts?
Answer: They made two distinct versions: one anamorphic 2.39:1 and another 1.37:1 open matte spherical format.
Phil Lord and Christopher Miller ensured 'The Lego Movie' would not be subjected to a panned and scanned TV broadcast by creating two distinct versions: an anamorphic 2.39:1 and a 1.37:1 open matte spherical format.
What is the meaning of the term 'droit moral' in the context of Sydney Pollack's lawsuit?
Answer: It refers to moral rights, a set of rights granted to authors and artists, distinct from economic copyrights.
In the context of Sydney Pollack's lawsuit, 'droit moral' refers to moral rights, a set of rights granted to authors and artists that are distinct from economic copyrights and typically include the right to integrity of their work.