Originally posted by: focuspuller
When I wrote scope I meant to write "metroscope" which should not be confused with the other. Metroscope was a cropped flat "widescreen" system which had a recommended aspect ratio of 1.75:1 but was protected for cropping down to 2:1. The name Metroscope I believe was created by MGM, and the format was popular for a time in Europe (this bieng a film from the UK, the studio in this case is Paramount).
As far as progress, I guess you could say I have about 30% left to finish. I'm having an issue with correctly syncing the audio would I could maybe use help with.
When I wrote scope I meant to write "metroscope" which should not be confused with the other. Metroscope was a cropped flat "widescreen" system which had a recommended aspect ratio of 1.75:1 but was protected for cropping down to 2:1. The name Metroscope I believe was created by MGM, and the format was popular for a time in Europe (this bieng a film from the UK, the studio in this case is Paramount).
As far as progress, I guess you could say I have about 30% left to finish. I'm having an issue with correctly syncing the audio would I could maybe use help with.
Oh, Metroscope was only used on a handful of MGM's films. None of them were shot for 2:1, but it was MGM's way of pulling off a cheap marketing pull. The Dirty Dozen is on DVD in Region 2 (Europe) at 2:1 and it's very poorly framed. All were shot for 1.75:1 or 1.85:1.
It's sort of how SuperScope was a poor man's CinemaScope which used nothing but films meant for regular 1.66:1 or 1.85:1 showing, but were enlarged and cropped to 2:1 anamorphic. Invasion of the Body Snatchers was shot for regular 1.75:1, but the 2:1 enlarging added a lot of grain and made compositions tight often.
I think only Universal was having films framed for 2:1 from the start in the 1950's through the early 1960's.