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Why The Old-School 4:3 Aspect Ratio Is Coming Back With A Vengeance Right Now

For years, the classic 4:3 (or 1.33/1.37) aspect ratio has been on life support. What was once the standard aspect ratio of motion picture film, began to fizzle out as early as the 1950’s when various widescreen formats were introduced, such as cinemascope.

But even as film moved away from 4:3, television still hung on to the aging format long after. For decades, the wider formats (1.85 and 2.35) were seen as “movie formats” and 4:3 was seen as a “TV format”. It wasn’t until the early 2000s that 16:9 (1.78) televisions hit the market in masses, and changed the aspect ratio game forever. No longer was widescreen a format only for film, but now it was a television format too.

This of course didn’t immediately make the 4:3 aspect ratio extinct, as there were plenty of legacy systems still running 1.33 programs (some still are), and not every consumer jumped on the widescreen/HDTV bandwagon right away. As the years went on though, it became less and less popular to shoot 4:3, and by the early 2010s it was practically seen as a taboo.

But something has changed in the last couple of years… We’re seeing a resurgence of the classic 4:3 format, with more filmmakers embracing it on feature length narratives. This is something we haven’t seen on a large scale for ages.

Personally, I am (and always have been) a fan of 4:3. Maybe it’s because so many of my favorite films were old classics shot on 35mm or 16mm in 1.33, or maybe it’s the way in which the square-ish frame can inspire unique framing choices. Whatever the case, it’s always caught my attention – so much that I plan to shoot my next film in 1.33 as I think it will be the best choice for the story.

As I’ve been doing some homework and seeking out inspiration for my next film, I couldn’t get over how many contemporary films have turned to 4:3. Obviously 2.35 is still the gold standard, but there’s been a mini explosion of filmmakers that are now embracing the once-taboo format, which I find quite fascinating.

American Honey, Son of Saul, and First Reformed are a just a few of the many features that have recently utilized 4:3/1.33 –

And it’s not just feature films that are benefitting from the format. Television content, music videos, commercials, and even digital projects are using 4:3 in numbers we haven’t seen for many years. So what exactly is it about this aspect ratio that is causing it to have a resurgence right now?

In my opinion, it can be boiled down to a few key factors –

The Democratization of 2.35

It goes without saying that the most popular aspect ratio in cinema today is 2.35. It’s a gorgeous ratio with anamorphic roots, and will continue to be the most common aspect in film for the foreseeable future.

When 2.35 (or 2.39) was first introduced, the technology was reserved for the largest scale motion pictures. This gave the format a certain je ne sais quoi that to this day is associated with bigger budget, higher-end productions. But over the past couple of decades, it’s become accessible to the masses thanks to higher resolution digital cameras (that can easily be masked/cropped to 2.35), cheaper anamorphic lenses, and the general democratization of filmmaking as a whole.

Today, practically every film we see – whether it’s a $200MM blockbuster or a $2,000 micro-budget indie – is finished in 2.35. And while this clearly doesn’t diminish the format in any objective way, I do wonder if the “allure” of 2.35 has worn out with some independent filmmakers. What was unattainable for so long, has now become commonplace… On some level this must be at least one of the (many) factors that’s leading filmmakers to experiment with other aspect ratios.

2.35 used to stand out from the crowd, but now it is the crowd… Which brings me to my next point –

4:3 Differentiates The Work

Around the same time 2.35 became accessible to the masses, so did filmmaking as a whole. Thanks to cheap/free editing software and inexpensive cameras, today the indie film market is flooded with so much content it’s almost impossible to fathom. Everyone with an iPhone and a laptop can (and is) making short and feature films… And while this is incredible in so many ways, it also makes it a lot harder to cut through the noise.

Consider the amount of submissions to film festivals in years past as a representation of how the industry has changed over the years –

According to the graph above (from the Guerrilla Rep), back in 1992 you had about 1 in 2 odds of getting into Sundance with only 250-ish films submitted. That’s a 50% chance! This year, Sundance received over 13,500 submissions, leaving filmmakers with less than 1% odds of getting in.

With such an abundance of content on the market, it’s become harder than ever for filmmakers to differentiate their work. It’s no longer enough to have a good story and strong production values. That may have launched your career back in 1992, but not today. In order for an indie film to stand out in 2018, it needs to be extremely unique, and special enough to rise above the crowd.

So is it any wonder that so many filmmakers are now going against the grain and working with formats (such as 4:3) that were once near-extinction?

Certainly an aspect ratio on its own will never make any film great, or help any film get into a festival. But it does represent the larger notion of doing things differently. This is something that is on every up and coming filmmakers mind right now, so in that respect, it’s no shock that 4:3 is getting a second look.

Vintage Is In

Another big variable right now is that the vintage look is very “in” at the moment. In a recent blog post, I wrote about how motion picture film has seen a resurgence in recent years, so much that pricing on film stock and processing has gone up nearly 30% based on the increased demand. And it’s not just professional celluloid – even Polaroid cameras are back and practically more popular than ever.

Whatever the reason may be, the vintage/throwback/nostalgia look is extremely popular at the moment, and its effect is certainly being felt by filmmakers… Many of whom are employing all sorts of tactics to make their digital footage look a little less 21st century. From the careful use of LUTs to pairing digital cinema cameras with vintage glass and Pro Mist filters, we’ve tried just about everything to get our clinical digital footage to look more filmic.

With that in mind, it’s not surprising that the 4:3 aspect ratio has become a part of this conversation. It’s impossible to deny the nostalgic qualities of the format, which are hard-wired into us after decades of consuming content. In some ways, 4:3 has come full circle – starting out as a motion picture format, later becoming a TV standard, and now returning to its origins in narrative feature filmmaking.

There Is No Better Way To Frame a Face

So far, we’ve touched on some of the superficial qualities that may be drawing filmmakers to 4:3. But at the end of the day, even if a filmmaker is enticed by the vintage look, or the format’s ability to differentiate their work from the next filmmaker, that’s simply an entry point.

What ultimately gets most filmmakers to actually commit to the 4:3 format are the aesthetic benefits – namely framing options. I could write an entire article about how framing is affected by various aspect ratios, and the merits of each format, but for the sake of this post I will focus on just one key factor: Framing faces.

Movies are about people, not landscapes. And unlike epic landscapes (which call for a wide aspect ratio), people – or more specifically, faces – beg for 4:3. The reason is quite simple: A human head fills up more of the frame at 1.33 when compared to 2.35. A normal closeup at 2.35 is going to leave a lot of empty/negative space on the opposite side of the frame. This could of course be an excellent artistic choice for a specific project, but it won’t highlight the actor’s micro-expressions the same way a 4:3 frame will.

There’s something about 4:3 that helps us connect more intimately with the characters. It feels more naturalistic in a sense, and for character driven pieces it can offer an effective gateway for the audience to zero-in on the subtleties of the performances.

There are countless other aesthetic benefits to 4:3 too, not the least of which is how powerful it can be for creating a more boxed-in/claustrophobic look… But we’ll save that for another article.

Final Thoughts

Do I hope we continue to see an increase of 4:3/1.33 films? Absolutely. Do I think for a second it will ever dominate the way it once did last century? Not a chance… 4:3 is definitely having a moment right now, but it still only accounts for a small fraction of the films made today. Even still, I’m happy it’s no longer being seen as taboo, and is yet another creative tool filmmakers feel comfortable pulling out of the toolbox.

The Internet and social media has also opened the floodgates with respect to formats and aspect ratios. Who would have thought 10 years ago the vast majority of home video footage would be shot in portrait mode? Or that the square 1:1 aspect ratio would make such a comeback? Certainly not me… But there is no question that the delivery medium is now influencing the content itself, and 4:3 is a case in point.

I think this has been eye opening for content creators. While many once felt they needed to adhere to certain guidelines (format, aspect ratio, etc.) in order to conform to “professional standards”, we’ve now realized there is no such thing. Sure, most of us will continue to shoot the majority of our work in 2.35, but when a film like A Ghost Story rolls out in a square aspect ratio with rounded corners, we can’t help but find ourselves enamored.

What do you think? Let me know your thoughts 4:3 in the comments below…


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About Author

Noam Kroll is an award-winning Los Angeles based filmmaker, and the founder of the boutique production house, Creative Rebellion. His work can be seen at international film festivals, on network television, and in various publications across the globe. Follow Noam on Twitter, Instagram and Facebook for more content like this!

110 Comments

  • Happy 1-year birthday to you and your exploration into the diverse world of film formats! It’s fascinating to witness the resurgence of 4:3/1.33 films and their newfound acceptance in the creative realm. The ever-evolving landscape of the internet and social media has indeed played a pivotal role in reshaping our expectations, challenging conventional norms, and giving rise to innovative storytelling.

    The democratization of content creation, fueled by diverse formats and aspect ratios, has empowered filmmakers to break free from traditional constraints. The prevalence of portrait mode and the unexpected return of the square 1:1 aspect ratio highlight how the delivery medium is now shaping the content itself. This shift has been eye-opening for content creators who once felt confined by rigid guidelines.

    While 4:3 may not dominate the film industry as it did in the past century, its resurgence signifies a refreshing willingness among filmmakers to experiment and embrace unconventional approaches. A Ghost Story, with its square aspect ratio and rounded corners, serves as a prime example of this creative exploration. It’s heartening to see filmmakers stepping outside the bounds of what was once considered “professional standards.”
    See more!
    https://retroandclassicflixs.com/

    As the cinematic landscape continues to evolve, it’s clear that there’s no one-size-fits-all approach. Filmmakers are now free to choose formats and aspect ratios that best serve their artistic vision. So, here’s to the continued celebration of creative freedom and the exciting diversity that 4:3 brings to the cinematic experience!

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  • Greg
    at

    BINGO??? Will a > 45″ 1080p 4:3 display wiith HDMI input soon be available in North America?? https://www.lcdhome.live/product/digital-signage-45inch-square-screen-43-display-android-monitor/

    https://www.youtube.com/watch?v=A8jNmybHX6o

    Reply
  • Alan
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    This reminds me of the Dogme95 movement of the 90s. One of the rules; your movie had to be shot on Academy 35 mm. I am conflicted about the idea. I guess if you have a reason or a need, some of which you have explained. Marvel’s WandaVision is an amazing use of switching formats. It also drove and enhanced the story. It was brilliant. Overall, I can’t see how it can help drive most stories. Most importantly, as some have stated, the delivery method that most people are going to watch your finished movie on, the format is going to aggravate them. The art side of me loves it. With movies such as The Brown Bunny taking it to the extreme. As a consumer, I can’t really get behind it. It is a step backward, just like Dogme95. Even Lars von Trier said Dogme95 should be rebelled against. I love the shakeup of the system though. American Honey is another good example

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  • Phaedrus
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    I haven’t read all the comments, but I wonder whether anyone has commented on another advantage in 4:3 (at least for independent, low-budget filmmakers): cost. I mean, the cost of producing a beautiful shot in 4:3 is obviously lower than the same shot in wider formats. If you have to build a set, let’s say, a storefront; shooting with widescreen cameras you end up showing more of the building or street, so you’ll have to spend more. If you shoot a crowd scene, in widescreen you’re gonna need more extras to pack a shot with the same density of people than shooting it in 4:3. Doesn’t that make sense? It’s just cheaper.

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  • Melchior
    at

    1:2.35 is idiotic.

    1:1.66 is close to ideal.

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    • Charlie
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      Bull! I bought a 65″ screen ten years ago.
      I don’t like having to look at a 36″ picture.

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    • Roderick Salter
      at

      I agree! Close to the “golden” (Fibanacci number) ratio. It is also why I wish we still used 16:10 instead of what is now the ubiquitous 16:9 ratio. But I guess many will think I am shear “old hat. I could never understand going 16:9 for TV. So much of TV is watching faces and you have all this extra real estate either side of the heads that they then sometimes deliberately put out of focus as it is really irrelevant. So what is the point to it. No wonder 4:3 is getting another look-in.

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  • Jeffrey
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    It was already very annoyed by tv-series and movies that add black (or worse: white) beams above and beneath the video. People can buy widescreen tv’s in 16:9 for over 20 years and still producers want to be just off-standard. Please fill the widescreen full-screen. It’s not that hard.

    On top of that it got in fashion to shoot on 4:3 again, sometimes including the fancy 70’s rounded corners and added fake VHS grain. I totally get it if they shoot 4:3 for phones. It just works then. For a widescreen tv it’s just a bother to the eye.

    In all this i have one exception: i prefer the format the video was been shot in originally. An original 1980’s movie is preferabele in 4:3, a 2010 action movie please in 16:9.

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    • I sooo much agree with you. I am annoyed that I have a 65″ screen and TV shows are now being shot in formats that waste my screen by having black blocks top and bottom. Most of these TV shows do shots that make me feel like I am in a crawl space with ridiculous head shots that cut off the top and bottom of people’s heads. I bought a big screen so I can be immersed in the show. Why would directors think that using 2/3 or less of my screen is “creative”? It’s just annoying. Seeing 2/3 of someone’s head is just creepy. One major TV show should have had fantastic panoramic shots because it was a fantasy, instead just had people’s oversized head talking constantly. Rather than feeling involved, I felt like was looking at it through a slot.

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      • thane
        at

        So I recently figured out why people are calling non-fullscreen content cinematic, and the 2:1 ratio is popular on netflix. Not only are phones commonly 1:2 ratio, but If the viewable area is smaller on a big screen, there is more bandwidth available and lower overall compression – assuming a finite amount of bandwidth is available. This makes movie content seem to have more detail than a fullscreen TV show, because the bandwidth is concentrated in a smaller area.

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  • Adie.
    at

    Leave 4:3 where it belongs in the past, and make wide screen televisions extra wide, just like Philips did in 2009.
    I don’t watch anything in 4:3, it makes programmes boring to watch, been there in the early 60’s, to the late 90’s it was substandard then and it’s substandard now. I should think the general public wouldn’t want that either, we’ve come so far with technology and enjoy a superior experience whilst watching television these days. Why go back to something that is to many younger people just a curiosity. It’s like going back from a Tesla to a Ford popular from the 60’s.
    I have an iPad that is 4:3 and it’s annoying that Apple hasn’t made these with at least 21:9.
    As stated 4:3 is for niche purposes, let it stay that way, and who wants Polaroid with its substandard images!

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  • Ben
    at

    This is a niche example but I noticed that using 4:3 became a popular feature in K-pop music videos. Popularized by Red Velvet’s “Automatic”, it became common for music videos to use that format (if not for the whole video than for some scenes). On the surface this is an aesthetic choice that helps to give certain videos a retro nostalgic feeling, and I think the benefits for framing the singers is also important in that industry where a big focus is on the idols and worshipping their image.

    But I also think there’s an interesting playfulness with the concept of time and the origin of culture when K-pop uses the 4:3 ratio. There’s no hiding that K-pop has always been inspired by if not emulating American sounds and visuals. Yet the 4:3 ratio establishes a strong awareness of the origins of the aesthetics they draw inspiration from, and contributes to the overall feeling that they’re not only making a “retro” song but fully immersing themselves into the era of choice. Beyond that, I also feel like K-pop uses heavy handed tools like the 4:3 ratio to almost retroactively assert a presence in different eras and genres. When a K-pop group or artist fully replicates an 80’s or 90’s aesthetic through their sound, vocals, style, and through visual tools such as the 4:3 ratio, it almost feels like they have entered the domain which few mainstream American artists dare touch in the present. It shows a certain dedication and aptitude, and attention to detail.

    Reply
    • That’s fascinating. I didn’t know it was being used that way in K-Pop (which such popularity), but will definitely check it out!

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    • Bojan Sucevic
      at

      4:3 is more natural to look at than 16: 9 and other wide and ultra wide screens. Human vision is not 16:9. Of course, you can switch your attention on vertical or horisontal part of your vision. It can be 1:1 also. Wide screen standards (smartphones are 20:9) are product of a mental focus disorder that are humans suffering of at this moment. 4:3 is not the past. It is the choice of your attention. When you look at nature, what beens seeing the world in widescreen? Animals that have side mouted eyes.

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  • Dave
    at

    That’s Vera Cruz 1954. Sorry for typo!

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    • Jennifer
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      I actively searched for The Edge 1997 in widescreen, closest to anamorphic as possible for the gorgeous scenery and views in this movie. Instead, I got a dvd in a jacket that stated it was 2.35.1, but was actually WINDOWBOXED, or PILLARBOXED, a tiny rectangular picture that cannot be enlarged – it was difficult to see, impossible to enjoy. WHY THE SCAM from 20th Century Fox??? I don’t like being lied to, I REALLY want my money back!!!

      Reply
  • Dave
    at

    Watching some older TV shows like MillenniuM season 1 shot in 4.3 aspect ratio(later seasons 16.9) kind of adds to the gritty feel of these older tv show, but watching that Justice League film in 4.3 made the film an even bigger abomination than it is.

    The best aspect ratio compromise is 2.00:1 which should be the de facto gold standard both in tv and cinema. A RKO superscope format first used in 1954 in Vega Cruz!

    Reply
    • 2:1 is definitely a popular option lately… Thanks for the note, Dave!

      Reply
  • […] Si vous souhaitez aller plus loin, je vous con­seille cet arti­cle sur les ratios des images et pourquoi le for­mat 4:3 revient en vidéo. […]

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  • […] the market, however, it’s been proven that the best results are achieved with those that have a 4:3 aspect ratio. So, if you’re planning on shopping soon, make sure to consider other features such as HD […]

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  • Garven
    at

    I have just watched ‘Zack Snyder’s Justice League’, and frankly I found the aspect ratio to be the worst part of the experience. For four hours and two minutes I sat there with two thoughts in my mind… “Why is this bloody film in such an old format”, and “why can’t he film it right”. Did I enjoy the story? No I was too distracted by the bloody stupid old fashioned format! (Actually the last thought that I had of this film was “What a bloody awful rendition of Leonard Cohen’s Hallelujah”, and yes I do know it was a tribute to his daughter, but really… at least use the original artist, or pick someone who can actually sing!)

    As a viewer of old fashioned TV, I grew up with the 4:3 format, and even the country that I lived in, only had a black and white TV service, so much of my youth was taken up with “TV Format” in monochrome. While it was good for that era of viewing, I still consider the “Widescreen” a more beneficial format. Akira Kurosawa was and is recognized as one of the greatest film makers ever, and he proved that framing can be done using any format ratio. Many of his characters were filmed in long shot to emphasize aspects of their character by using subliminal ideas in the background surrounds of the characters’ close-up, very much to good effect. It isn’t the format that makes the framing, it is the film-maker. If you do not want the background surround to become a distraction then shoot it out of focus, or place the character against the background over-lit to white-out the surround, or go the opposite way and place the character against a background so dark it leaves you no other choice but to focus on the character. That’s good creative film-making.

    I suspect the resurgence of the 1:33:1 format has more than a little something to do with the IMAX screen format which is basically taller than a conventional cinema and thus the film either looses the sides or they film it in a square format. Many people also have taken to using their cell-phones as cameras and stupidly hold them upright, thus filming an upright slit that I find more distracting than entertaining. I’ve seen some clever funny videos where some-one comes along and slaps those idiots upside their heads for holding the camera wrong, which I thoroughly approve of, and should be done for a great many other stupid blunders.

    While I will and do love watching old movies and TV series (the bulk of my viewing is of my old favorites, as many new shows are just so bad these days, too much soap!) I feel the experience of a big screen movie needs to be widescreen. It provides more spectacle and depth. The human eye is designed to see peripherals and not just focus on a narrow square in front of you. As for films being only about people… I beg to disagree. Many decently made films actually use the landscape as a character. It is just lazy film-making to ignore the edges of the world.

    And although it is off topic here, I feel I must mention that while on the Lazy “Artistic” film-makers subject, what about those lazy so-and-so’s who use bloody stupid camera shake to “enliven” a scene or “add kinetic energy” to an action scene, to them I say that it is no excuse for not doing the job properly and using clever editing and, dare I say it, actual Choreography to achieve a great film sequence. It makes me sick to see such stupid and lazy ways that they make films these days. It really does. When I still went to public cinema’s, I got to the point where I would just walk out if they started using camera shake. A terrible idea garnered, I believe, from that most terrible of movies ever made, ‘The Blair Witch Project’, which was a “Fad” “Artistic” film that I walked out on because it was just so bad. And just so as you know just how bad I felt it was, it was actually the first film I ever walked out on.

    Good film making is about using the resources that you have to make the best and highest quality film that you can make. So long as you are true to your idea and source material, then being creative is using light and movement, mixed with proper sound-scapes to make an audience believe what they are seeing, to take them out of themselves for an hour or two. To make a film that you can walk away from knowing you have just seen the world through someone else’s eyes.

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    • Pyke
      at

      I’ts funny how people watch movies with black horizontal bars all the time and don’t complain, but when they see a 4:3 movie, suddenly can’t stand black bars. A fun fact to you: These horizontal black bars in a movie with 1.85 aspect or other wider aspects take more space from your TV than vertical black bars of a 4:3 format. In other words, our TV screen is showing more with a 4:3 aspect in the end….

      Reply
      • Great point, Pyke.

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      • Tobias
        at

        I know, but still. horizontal bars irk me as much as comic sans

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      • birkett
        at

        Fun Fact: Your fact is not a fact.
        When a wide-aspect movie is shown on a standard TV you were not “losing” anything, and when it was shown in 4:3 you were NOT “seeing more/”
        Widescreen films, when shown without “black bars” accomplished that through CROPPING. Pan and scan, is what it’s called. You LOST almost half of the picture. Where in the original you would see a closeup of two people on screen talking to each other with the “black bars” version, in the pan and scan version that “fills your screen” you would see ONE person and the other would be heard from offscreen, or sometimes there would be cuts between the two faces “hence ‘pan and scan.'”

        They had to slice away half the image to show widescreen movies in 4:3. People who thought they were getting :”less” with the black bars were getting the FULL image – they just didn’t understand that because they were ignorant and ill-informed, and frankly, since the effect of the panning and scanning was usually quite obvious and terrible looking, they also were not very perceptive, because when you could see a stray nose appear on one of the screen, or any of the other hideous results, it was OBVIOUS that you were seeing a heavily-cropped image.

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    • Thanks for sharing this here, Garven. Haven’t seen Justice League but am interested to see how the aspect ratio holds up in the context too.

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    • Rob Morrow
      at

      Thank you so very much for bringing up the camera shake. I too have walked out on films that do this for no reason at all. The Bourne films were terrible for this. I actually got physically sick because of it.

      Now TV programs are doing the same thing everytime there is a static scene they wiggle and shake the camera. Or the fast zoom in and out like in the show of Succession. I had to stop watching because of it.

      So we have the shake and the old format to contend with when we got nice big 65″ screens to watch. What will they do next?

      Reply
  • […] Beside filmmaking, Instagram is the main platform that endorses the use of 4:3 since it is a “Smart Phone Display” focused social media platform which means scrolling down in a portrait style display that is in a reversed aspect ratio, mostly either 9:16 or 9:18. So to fit the video or picture in the display, 4:3 is the best option since it can keep most of what you want to show and get the most out of the display form factor. 4:3 Fullscreen Aspect Ratio In A Wide Screen Setup ( Noam Kroll) […]

    Reply
    • Tobias
      at

      Also, plenty of new laptops are pushing 4:3 (Like the microsoft surface)

      Reply
  • gregory battaglia
    at

    It would be great if those of us with lots of 4:3 content on DVD and 1080p BD would post their requests for a 4:3 OLED TV, 50″ to 55″ size, here Jaed Arzadon, Corporate Communicationsjaed.arzadon@pioneer-usa.com Or here among the leading Chinese OLED TV brands, who unlike Sony, LG and Philips all welcome consumer feedback. https://www.sharptvusa.com/contact/
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    https://www.hisense-usa.com/contact/
    https://support.tclusa.com/contactus?contact_query=Please%20enter%20your%20question

    Reply
  • Well, I hope I’ve stumbled into the right place. I’m transferring 45 Compact VHS Tapes I made starting in the early 90s (yes, that’s when our oldest child was born..) and the video transfer program (Elgato) asks me to choose between 4:3 and 16:9. I have 2 questions- 1) Is the camera, a JVC GR-AX64OU, filming in 4:3? 2) If it is filming in 4:3 then wouldn’t I want to transfer it(keep it) in 4:3? I want to make sure I get off on the right foot! THANK YOU!!

    Reply
    • Yes, I would recommend scanning at 4:3 since your source footage on VHS would have originated in 4:3. Good luck!

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  • Luca
    at

    I am ignorant on the matter, really. Still for me this format seems just like a “creative tool” with the only purpose of doing something “creative”. I can’t understand what’s the point, to me (an ignorant on the subject of filmmaking) it just look like “why the hell do I have 2 black bands there? Couldn’t they just shoot it on the size of my screen which is the actual standard?”. What I would like to understand is: filming exactly the same scenes, but including whatever is in the sides, would make such a difference? Would that be somewhat distracting? In my opinion I think it wouldn’t.

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    • You’re right, Luca. It is totally subjective – for some creatives it can be an excellent tool to work with, but not all audiences even notice the difference.

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    • Patricia Rachelle Biehl
      at

      Thanks for expressing just what I think. I want to be immersed in my 65″ TV with my screen filled to every edge. I’m not very interested in a film maker’s creative approach to making me feel like I am not involved with what I am seeing on my screen. The 4:3 format at least fills to the top and bottom. It’s the horizontal bands that make me feel like I am being kept out of the experience.

      Reply
  • Interesting article – I’ll watch out for those 4:3 films. I’m glad I didn’t throw out my Sony Hi8 camcorder. You mentioned films are about people, and 4:3 fits the human face. But stories are about people interacting, and 16:9 or wider permits a relationship between two faces. Incredible how filmmaking has suddenly become accessible. I predict it will lead to a craze in re-cutting classic movies starring oneself. We will all become actors just as we have all become photographers.

    Reply
  • Mike
    at

    Wide screen (ratio greater than 1:1.66) is an abomination dreamed up by the movie studios (particularly 20th Century Fox) in the early 1950s to try to draw viewers to theatres and away from their comfy homes and TVs. I have always hated it. It’s great for movies about snakes, submarines, whales, pencils, etc.

    It’s so stupid!

    Reply
  • Tim
    at

    Hi Noam,
    Interesting read. Do I need anamorphic lenses to get the 2.35: 1 aspect ratio or when filming, you use guide lines for composition and framing and then add black bars in post. When doing it in post, does this not affect the final resolution of the image?

    Reply
    • Thanks! You don’t need to shoot anamorphic for 2.35. That’s definitely one way to do it, but you could just crop the top and bottom in post if you’re using standard spherical lenses.

      You don’t lose resolution by cropping, but you do kind of “gain” resolution by using Anamorphic lenses… Hope that makes sense!

      Reply
  • Hey Noam, I appreciate your perspective on this.

    I’m a TV news and Long format Video Editor. I have to say, that despise this 4:3 resurgence with every fiber of my being! I feel like we’re taking a step backwards by trying to squeeze our vision, after it’s been broadened, back into a square box.

    I just spent a week editing a promo for a Show in 16×9. I was later informed that we had to re-edit the promo for Square video for social media. I ended up butchering the promo because I wasn’t simply allowed to resize the video, but in fact had to cut out chunks of video to just focus on the host. To say I was pissed is an understatement.

    Using 4:3 as an artistic tool in movies in fine. In terms of social media, I feel like catering to people who are too lazy to turn their phones on the side to get 16:9 video.

    I apologize for the rant, but I thank you for you insight into this resurgence.

    Reply
  • Sheridan
    at

    One thing you’ve forgotten to add, Noam, was that aspect ratios affect your choice of lenses too. This is INCREDIBLY overlooked when discussing aspect ratios. You wouldn’t use the same lens for a 16:9 image as you would for a 2:39.1 one.

    Reply
    • Thanks for this, Sheridan! Definitely a great consideration to take into account.

      Reply
  • Mister Widescreen
    at

    Let’s face it. All of that is explain it away nonsense. The REAL reason 4:3 is making a comeback is because TVs ditched the format to be more like film. That was the number one reason film went to wider formats in the first place to differentiate it from television (lest cinema be destroyed). Now they’ve got the same problem they had in the 1940s and 1950s. People can watch widescreen at home.

    Why BOTHER to go to the movie theater anymore with mega-high prices on both tickets and snacks, people kicking your seat and the occasional lunatic that starts shooting in a crowded theater? Why bother when even a UHD 65-75″ screen is now not only commonplace, but DIRT CHEAP compared to the 1980s and 1990s when a large screen was rare or at least uncommon and a quality CRT projector could cost $25k or more. I just bought a 4K/3D projector with power memory zoom for $1600 and a 115″ 2.35:1 tensioned electric screen for $960. For $2560 (plus sound system), I can watch 2.39 and 2.35:1 movies at home with no or almost no black bars at a distance of 9 feet (thanks to HD and UHD) that looks INCREDIBLE and 3D movies fall into my lap. With my 11.1.6 Atmos/X/Auro-3D sound system installed and with super comfy power reclining massage chairs for every seat in three rows, WHY ON EARTH would I want to go to the cinema??? I wouldn’t and I don’t.

    Sure, not everyone can afford to do that and dollar theaters (which are typically now more like $3-4, which used to be the regular matinee admission price when I was younger) are still popular, but I can easily imagine some new theaters opening like the movie houses of old with GIANT 4:3 screens and less width with more rows and a balcony (what good is 4:3 in a theater optimized for 2.39? It looks just as ridiculous as it does at home now). How many movie theaters have balconies nowadays with the advent of stadium seating? Fancy theaters with “outdoor decor” and stars on the roof used to be commonplace, but are now a true rarity. What is old is new again. Next you’ll be seeing a remake of Casablanca in 4:3 for authenticity and it’ll need an authentic 4:3 theater to view it in.

    Sadly, this will put home systems right back into the hell hole of 4:3 we finally escaped and yet people like YOU want MORE of it. Screw 4:3. Until I grow a single cyclops eye, 2.39 and even 1.85 will make far more sense to my feeble brain. If I want to watch M.A.S.H., Night Court or Cheers reruns, I’ll tolerate 4:3. Otherwise, good riddance.

    Reply
    • LOL. I don’t think 4:3 is taking over… Just being seen as another creative tool that we can use. Just like Anamorphic.

      Reply
      • Tobias
        at

        The 4:3 is taking over the laptop market atleast. check microsoft and apple

        Reply
  • Alexander Parkhomenko
    at

    I do not fully agree with this point of view.
    Maybe 4:3 is surely getting more popular (as a fact) but it doesn’t make it the “right” way of doing things.

    – VINTAGE LOOK. I see a lot of people throwing a vintage look on their pictures and videos with no justification to it. I think all vintage looks should be reserved for films that tell vintage stories…
    If you making a film about the modern world, it would be weird to throw a vintage 4:3 ratio. At the same time, I can see it being used for stories about the past century.
    But here comes the question – Chicken or Egg? Is 4:3 used because it is actually good, or is it used just because that’s how people used to see their media, regardless of good or bad?

    – TECHNOLOGY. Unless you making a film specifically for a movie theater, you have to consider all kinds of media devices people may watch this film on. And the fact is our modern screens are getting wider and wider.
    Netflix is most likely to be viewed on wide screen TV. Youtube is often widescreen PC or even wider phone screen.
    Will 4:3 look that great with black bars on both side of TV and phone?

    – FRAMING. There is plenty of ways to have a good framing on pretty much any aspect ratio. Even for the face. In fact, 16:9 isn’t that much of a difference from 4:3 – all you get is a bit of empty space on both sides of an image. So, really, the face will look about the same way in both frames.

    – HUMAN EYE. Widescreen was created for a reason – it was an attempt to emulate human eye experience. Our vision is panoramic. Achieving this effect at home was not possible for a large market so it was reserved for film theaters. A film, in its basics, is an attempt to dip viewers int alternative reality, as close to a real experience as possible. A panoramic view is part of it. Today we are finally able to get this kind of view at home and even in our hands – should stop for a moment and appreciate it.

    – SOCIAL MEDIA. Social Media format is going towards vertical and square frames. 4:3 has very little to do with it. The vertical format is native for any phone – that’s how you usually hold it. Its great for portrait shots, which is very popular with talking heads on social media. Snapchat even makes short series in vertical format.
    Square, on the other hand, is the best alternative for vertical if you want a smaller “horizontal” frame. Square is perfect because you are not losing any space with it. 4:3 provides less viewing space on a phone compared to square…

    – WHEN TO USE? I am sure the best example of using different aspect ratios would be Grand Budapest Hotel which uses aspect ratio based on the context of the story.
    Another way of using 4:3 would be when dealing with old media. I can see the documentary being shot in this format because it uses many materials shot in that format. However, that’s more of a compromise, rather an improvement.

    After all, I am very skeptical about going with weird aspect ratios. Many people are using them in order to be distinctive, while their story sucks… Media Devices should be considered when making decisions on film aspect ratio. Is it vertical Snapchat? Is it TV? You have this large canvas at home, that happened to be 16:9. Why not fill it with the image completely?

    Reply
    • Thanks for sharing this! Great perspective…

      Reply
    • Mike
      at

      “– HUMAN EYE. Widescreen was created for a reason – it was an attempt to emulate human eye experience. Our vision is panoramic. Achieving this effect at home was not possible for a large market so it was reserved for film theaters. A film, in its basics, is an attempt to dip viewers int alternative reality, as close to a real experience as possible. A panoramic view is part of it. Today we are finally able to get this kind of view at home and even in our hands – should stop for a moment and appreciate it.”

      This is false!

      It was promoted by production head Darryl Zanuck, and it is actually worse for movies about people!

      Reply
    • Melchior
      at

      “– HUMAN EYE. Widescreen was created for a reason – it was an attempt to emulate human eye experience. Our vision is panoramic. Achieving this effect at home was not possible for a large market so it was reserved for film theaters. A film, in its basics, is an attempt to dip viewers int alternative reality, as close to a real experience as possible. A panoramic view is part of it. Today we are finally able to get this kind of view at home and even in our hands – should stop for a moment and appreciate it.”

      No, it wasn’t! It was created to draw people back to theatres and away from their TV sets in the early 1950s.

      The camera is supposed to focus on what is to be seen, emphasized, selected. I don’t care about the air all around a face!

      https://youtu.be/9FnO3igOkOk?t=46

      Reply
  • Martin
    at

    My choice for video is 16:9, and with the proper lens and composition.
    16:9 has more width than 4:3, but without the often unnecessary panorama effect 2:35 and
    wider ratios provide.

    4:3 has a great inherent feature, height. With height the tops of actors heads are seldom sliced off, and
    scenes do not look as if viewed through a raised venetian blind slat. 2:35 and wider look great for panoramic scenes while the non panorama scenes often look overly cropped vertically.

    Reply
  • Mark
    at

    Mid 90s is in 4:3 too

    Reply
    • Sure is. I’m listening to the soundtrack for that film right now, by the way!

      Reply
  • Ricardo
    at

    Hi Noam,

    I have some technical questions, have you seen Mid90s the movie, How do you thing this was shot? What kind of camera?

    Also which cameras has a 4:3 format?

    This is a great blog.

    Thank you

    Reply
    • Hey Ricardo! I loved that movie. It was probably shot on an Arri 416. Many cameras can shoot in 4:3! The Blackmagic URSA or Arri Alexa are two cameras that can do it natively. On other cameras, you can just crop the image in post.

      Reply
  • Kevin Mullarkey
    at

    Unfortunately when viewing on a consumer WS 16:9 TV, your average user will simply stretch the 4:3 image to fit the screen resulting in an incorrect distorted image, much like they do with the ‘zoom’ feature when hiding the black bars of a 2.35:1 image. For me as a viewer 16:9 or 1.77:1 or even good old 1.85:1 are the best ARs that fit a standard WS TV, although i’m perfectly happy with 2.35:1.

    Just don’t get me started on the ‘mobile phone portrait mode’…..OK I have!!….

    As far as film/video archives go a lot of material that resides in National film archives is sourced by amateurs and enthusiast and we have some dome wonderful and consistent (as far as AR is concerned) movies all the way and up to the home video boom of the 80s/90s, i.e. everyone held their camera in landscape mode. Fast forward to the mobile/cell phone era an now we see a lot shot in the DREADFUL portrait mode that takes up just a very narrow slot on ANY TV ‘great’ additions to the national archives these will be along with their artefact, pixelated image that I seven worse than VHS! When will people realise that shooting in landscape mode gives you the best of both worlds and will look better when viewed buy historians in years to come

    Reply
  • James Davis
    at

    I think it depends on the narrative.

    A vast in scope film or blockbuster movie looks better at 2.35.

    A comedy/rom com or period drama 1.85

    4:3 is more Art House avant-garde and experimental IMHO. I just can’t see a space opera being shot in 4:3 unless it’s trying to emulate the old school 30s and 40s Sci-Fi/Serials.

    Reply
    • For sure! It’s nice to have different options, depending on the creative needs of our productions.

      Reply
  • This was a great read. The beauty of this coming back is that the viewer will once again enjoy movies of all colors and aspect ratios a like. And going back to what you said – and I agree 100% – there’s no better way to frame the face.

    Reply
    • Thanks so much for the note. Glad to hear we’re on the same page!

      Reply
  • Jack
    at

    As a consumer, I’m not that concerned with aspect ratios. Whatever an artist wants to do, they should do.

    But if an artist cares at all about making a little extra money, they should consider filming in at least 16:9 width. They can always crop to the smaller size for the artsy-craftsy crowd. But if it’s ever released for the masses, it’s nice to have 16:9 available. There may be nothing of much significance on the sides, but it looks better on modern wide screen TVs than black bars. At least for the average consumer. The only time it might not hurt sales is for a truly vintage look in black and white. But Young Frankenstein has a nice vintage look, and without resorting to 4×3.

    The Steven Spielbergs of the world may not overly concern themselves with money, but novice filmmakers need whatever they can get!

    Reply
    • I bet there will be lots of projects in the future framed for multiple aspect ratios… It’s bound to happen!

      Reply
  • a
    at

    the best ratio is the golden ratio. 16:10

    Reply
  • Kevin
    at

    Hey Noam,

    Would you know if a film submitted in full 16×9 would be ruled out or for some reason be unable to be played/projected for a film festival? We’re making out first feature, learning as we go, and while the aspect ratio seems to be a creative choice I’ve read some things saying that 16×9 won’t play right. We rather like using 16×9, even if it isn’t considered to be as cinematic or filmic, but don’t want to run make an entire movie that gets ruled out because of its format.

    Most all submissions are required to be 16×9 format, but if your film is selected it looks like it gets exported to a different type of format for screening. It’s all been a bit confusing.

    Thanks for creating this resource here; it’s been a big help!

    Reply
    • Hey Kevin! It definitely wouldn’t be ruled out for being shot in 16:9. If anything, I think we are now working at a time when aspect ratios are more flexible than ever. You could theoretically get into a film festival even with an iPhone video shot in portrait mode, so 16:9 is certainly not going to be an issue. Best of luck!

      Reply
  • Bradley
    at

    Hi Noam,

    I have a short we shot on 16mm b & w filmstock. A 2K scan, we intended to finish at 1.37. What in your opinion is the best way to crop the footage accordingly in Adobe Premiere without losing image quality and while also maintaining a consistent framing across mediums and platforms (DCP, YouTube/Vimeo, Blu-ray, etc.)? Any advice would be greatly appreciated.

    Thanks,
    BP

    Reply
    • Hi Bradley – great question. I would create a 1.37 timeline, and then copy your edit into it. That will allow you to avoid having to letter box/pillar box, and you can output all your deliverables straight from there. Hope this helps!

      Reply
  • Jay
    at

    Let’s not forget 1.66:1

    Reply
    • The one and only.

      Reply
    • john morris
      at

      Yes, the European wide standard. Well, it use to be.

      Reply
    • Bengt Freden
      at

      I agree! That is the most beautiful film aspect ratio of all! Many German movies in the mid 70s and later (e.g. Werner Herzog’s) were shot in that glorious aspect ratio. It is a very photographic format, where everything balances beautifully, especially landscapes involving trees or mountains. Like “Herz aus Glas”. 🙂

      Reply
  • Jay Batchelor
    at

    A new film called “Cold War” was framed on the 1.37:1 format as well. I like that vintage format too.

    Reply
  • Sofia
    at

    Hi Noam, how are you?

    I was actually doing some research on how to shoot in 4:3 and 2k (regarding cameras).
    I found out that the Arri Alexa mini has an option for 4:3. Somehow everyone talks about using anamorphic lenses when shooting 4:3 with this camera and I’m a bit confused about that.
    I’m guessing if I don’t use anamorphic lenses i’ll get a different angle of view?

    Is it gonna raise my production budget up too much if using this set-up?

    Do you have any insights to share about this?
    Thanks, Sofia

    Reply
    • Hi Sofia! You could technically frame for 4:3 on any camera (even 16:9) and then just crop the image with a pillar box in post. That said, when people use anamorphic lenses on 4:3 sensors, they end up with a 2.39:1 widescreen image once it is de-squeezed in post.

      Reply
  • Jan
    at

    Not to mention “Cold War”, big sensation of the last Cannes festival, which fits perfectly to the “4:3 on path of vengence ” family 🙂

    Reply
    • Haven’t seen that one yet! Will need to check it out.

      Reply
  • Nathan
    at

    Thanks for writing such thoughtful articles Noam, one of the only film blogs I actually pay attention to!

    Reply
    • So nice of you to say, Nathan! Really appreciate that…

      Reply
  • Jeroen
    at

    May I add another reason? Not so much the film presentation itself, but social media short films and marketing require a square aspect ratio or even portrait to work well on a Facebook timeline or Twitter feed. These platforms are portrait focused and these formats don’t require people to awkwardly rotate their device as they jump in and out a video.

    Reply
    • Great point – I think more square content is inevitable for that very reason.

      Reply
  • Daniel
    at

    Great article. We just wrapped our first feature film and the director and d.p. went with a 4:3. The producer fought against it but the director ultimately won out.

    Reply
  • Jacob
    at

    Can’t echo this enough!!!

    Reply
  • […] Why The Old-School 4:3 Aspect Ratio Is Coming Back With A Vengeance Right Now […]

    Reply
  • Ingerson
    at

    I actually just completed my first short film, I shot it in 4:3 B&W 🙂

    https://youtu.be/rsXdjH4I5YA

    Reply
    • Awesome! Will check it out some time soon.

      Reply
      • Ingerson
        at

        Thanks Noam 🙂

        Would be great to know what you think, you and your site has been a great resource for me and an inspiration for me 🙂 Looking forward to “Shadows On The Road”!

        Reply
        • Thank you so much! Can’t wait to share it with you too.

          Reply
    • Sofia
      at

      Hi Ingerson,
      just wondering which camera did you use to shoot 4:3?
      Or did you just crop the image on post?
      cheers

      Reply
      • Ingerson
        at

        Hi Sofia

        DVX200, cropping in post. using camera’s built in guide lines for composing.

        Reply
  • Talia
    at

    As a matter of fact, In Jean-Luc Godard’s Contempt, Fritz Lang says that Cinemascope is not meant to film people, but to film snakes and funerals, referring to the Western movies when the 2:35 became widely used. Western are also about showing the natural monuments North America has, since it does not have European century-old architecture (Hence “Monument Valley”).

    When it comes to a 4:3 format, interestingly enough The Contempt that was shot large format, features dozens of shots where characters are put into a 4:3 format within the 2:35 (a frame within the frame), and it always happens when something happen on the human intimate level.

    Reply
    • Ha! Never heard that before, but will need to look it up now…

      Reply
  • I see that you also mentioned social media influencing aspect ratios. What are your thoughts on shooting a film in 4:3 with the intention that it would most likely be seen on a cell phone? Like, for example, the increasing regularity of people using their phones to watch Netflix or scrolling through Instagram.

    Reply
    • I think it’s definitely a viable option to consider – especially if the film were to be distributed through a social media platform that has a native 4:3 frame. If it were hosted on YouTube or Vimeo, a standard 16:9 ratio would work too, since most phone screens are approximately 16:9.

      Reply
    • john morris
      at

      Why not go all the way: shoot it in black and white and in mono. Hey, and filter the audio so it has that 200 – 7 000 hz 1940’s cinema sound..

      A guess if it’s an art film then anything goes. But doing a 1.375:1 movie in 2019 is silly. Back in the early 50’s they went to wide screen aspect ratio, multi channel sound and 3D to compete with television. For example: The First Super wide, multi channel movie – The Robe in 1954. Imagine how incredible that 2.55:1 ratio would have seen back in those days. And it wasn’t long before the wide 1.85:1 ratio became the new Academy Standard. The only reason the old Academy ratio of 1.375:1 stuck around was because every television set was that ratio. (Before 1954 pretty much every movie was that ratio so the television sets were the same.)

      I suppose if you are doing a movie in the style of an old Joan Crawford movie from the 30’s or movie like a 50’s TV show then I suppose in those circumstances using old Academy ratio would make artistic sense.

      Funny, you have this strange push for all televisions going to a 21:9 ratio. (2.3:1 ratio) which would severely crop and shrink thousands of 1.375:1 (Any movie before 1954) and the European Standard 1.66:1 ratio movies and television shows.

      Reply
      • Haha – Thanks for this, John. Of course I agree, we’re not going back to 4:3 as an exhibition format, but as a creative tool it’s great. Many shows are now shot in unusual aspects. Take Homecoming (on Amazon) for example!

        Reply
      • Brian
        at

        Televisions were 1.333:1, not 1.375:1.

        Reply
  • Really nice blog here that has made me think about how I might frame my feature project.

    Thanks

    Tom

    Reply

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