Standard widescreen format for North American productions using a 1.85:1 aspect ratio, achieved via top/bottom matte on 4-perf 35mm. Moderate widescreen aesthetic suited for dialogue-driven dramas and character studies.
Technical Specifications
The 1.85:1 aspect ratio is achieved by horizontally projecting 4-perf 35mm film with a top/bottom mask. The projected image utilizes the full width of the 35mm frame (22mm) but is vertically masked to a height of approximately 12mm.
Technical Parameters:
- Negative Utilization: Approx. 48% of the 4-perf frame
- Projected Resolution: 22mm x 12mm on 35mm
- Pixel Equivalent (4K DI): 3996 x 2160 pixels (1.85:1)
- Angle: Widescreen, but less extreme than Scope
Digitally, 1.85:1 is created through sensor cropping or post-cropping. ARRI Alexa offers a native 1.85:1 sensor mode, while RED cameras require post-cropping. Most Netflix and Amazon productions are shot in 1.85:1 or 2.00:1.
History & Development
1.85:1 was introduced in 1953 by Paramount Pictures as a response to the growing TV audience – cinema needed wider images to differentiate itself from 4:3 television. Unlike CinemaScope, 1.85:1 did not require special lenses or projectors.
The introduction was pragmatic: cinemas projected 35mm with top and bottom masking. The "Flat" format (so named in contrast to "Scope") quickly became the US industry standard for drama, comedy, and action films.
In the 1980s-90s, 1.85:1 solidified as the format for "serious" Hollywood dramas, while Scope remained reserved for spectacle. Today, 1.85:1 remains the dominant format for dialogue-intensive productions.
Practical Use in Film
Steven Spielberg's "Schindler's List" (1993) consciously uses 1.85:1 – the format allows for intimate facial close-ups with enough surrounding environment for historical context. DP Janusz Kamiński chose 1.85:1 for emotional proximity rather than epic distance.
Martin Scorsese's "The Departed" (2006) showcases the strength of 1.85:1 for ensemble dramas – dialogue in confined spaces benefits from the vertical generosity. Over-the-shoulder shots have natural breathing room.
Christopher Nolan's "Interstellar" (2014) alternates between 1.43:1 IMAX and 2.35:1 Scope, but uses 1.85:1 for more intimate earthbound scenes – the format signifies emotional grounding.
Variants & Related Formats
1.78:1 (16:9): HDTV standard, minimally narrower than 1.85:1. Streaming productions often shoot in 1.78:1 for lossless TV playback.
1.90:1 (IMAX Digital): Slightly wider than 1.85:1, used for IMAX laser presentations.
2.00:1 (Univisium): Vittorio Storaro's compromise format between 1.85:1 and 2.39:1, popular with Netflix Originals.
The main advantage of 1.85:1 remains its versatility – wide enough for cinematic aesthetics, vertically generous for faces, and optimal for 16:9 home cinema playback.