Aspect ratio 1:1.5 — between full frame and portrait orientation. Rare in cinema, used in experimental or commercial work.
The half frame operates with an aspect ratio of 1:1.5—an unusual proportion that neither aligns with classic cinema formats nor the modern 16:9 standard. Practically, it places you between full frame and a distinct vertical format, significantly complicating image composition. On set, you almost never encounter this format in narrative feature films; it remains a rarity for conceptual works, experimental aesthetics, or specific advertising projects where the image's inherent unusualness is itself a statement.
The technical challenge lies in subject design. With 1:1.5, you lose lateral width but lack the deliberate severity of a true square (1:1). This creates a visual tension that cinematographers either intentionally exploit—perhaps to compress architecture or force depth of field—or that frustrates them because standard lens calculations no longer apply. During location scouting, you quickly notice: the image edge becomes a constant compromise. Vertical elements automatically dominate, while horizontal composition appears squeezed.
In the edit, the problems become even more apparent. If the rest of the series is cut in 16:9, the half frame appears isolated. Color grading and contrast must compensate for the inherent restlessness the proportion itself introduces into the image. Some editors use pillarboxing or work with artificial mattes to compensate for the image edges—which in turn sacrifices cinematic appeal.
Experimental photography and art films have consciously employed the half frame precisely because it provokes this sense of unfamiliarity. In advertising, it's used to showcase products from an unexpected perspective—for instance, to emphasize verticality or to deliberately appear uncomfortable. As a DoP, I would only choose this format if the image composition itself is part of the narrative idea, not out of technical necessity. Most projects fare better with established formats—and save themselves the constant frustrations on set.