Cinematographer
1.66:1 gives us more side room than Academy standards, but remains more moderate than Cinemascope. It's ideal for subtle, realistic lighting design.
European widescreen format 1.66:1, standard for European cinemas from the 1960s. A compromise between the square Academy standard (1.33:1) and extreme Cinemascope (2.35:1), preferred in Europe, India, and other regions.
In film history
Famous examples · European Widescreen / 1.66:1
Curated examples across cinema history that illustrate the term — from compositional principle to deliberate refusal.
01 / EUROPEAN WIDESCREEN AS DREAMSPACE
8½
Fellini's masterpiece was shot in 1.66:1, demonstrating how the European widescreen ratio provides enough room for surreal dream sequences while preserving the intimacy of the frame.
02 / QUIET BREADTH IN THE EUROPEAN STANDARD
Der Himmel über Berlin
Wenders and Alekan used the 1.66:1 ratio to capture divided Berlin in a frame that feels neither too tight nor too panoramic – a characteristically European middle ground.
03 / CHAMBER DRAMA IN WIDESCREEN
La Pianiste
Haneke and Berger employed the 1.66:1 ratio to merge the claustrophobic intimacy of chamber drama with the horizontal tension of widescreen – a paradox made possible by the European format.
04 / MODERN EUROPEAN CINEMA IN A CLASSIC RATIO
Toni Erdmann
Maren Ade's award-winning film was shot in 1.66:1, demonstrating that this European standard remains vital in contemporary art cinema, creating space for nuanced character relationships.
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History
The 1.66:1 format was established as the European standard from the late 1950s / early 1960s. It was a reaction to the widescreen revolution (Cinemascope from 1953), but with European restraint.
Development Context:
- 1953: Cinemascope (2.35:1) is introduced in the USA
- 1958-1960: Europe develops its own widescreen standards
- 1960: 1.66:1 is adopted as the European standard
- 1963: DIN standard for 1.66:1 in Germany and Europe
- 1960-1990: Main standard for European cinemas
- 1988: Gradual shift towards 1.85:1 (American) and later 2.35:1
Why 1.66:1 in Europe?
- Less extreme than American Cinemascope
- Maintained vertical image composition
- Cheaper than complex anamorphic techniques
- Easy optical realization on 35mm
- Fit European aesthetic sensibilities
Technical Details
Aspect Ratio Specifications:
- Aspect Ratio: 1.66:1 (exact: 5:3)
- Alternative Name: 5:3 Widescreen
- Film Standard: 35mm (spherical, non-anamorphic)
- Image Area: ~21 × 12.7mm on 35mm
- Projection: Optical cropping of the 1.33:1 image
- Standard Resolution (digital): ~1920 × 1152 pixels (corresponds to DCI standards)
Realization:
- Spherical lenses (non-anamorphic)
- Cropping of the top and bottom edges of the image
- Perforation: Standard 4-perf 35mm
Projector Standard:
- 1.66:1 aperture in the projector
- Screen format: Width to height = 1.66:1
- Typical screen sizes: 7.5m × 4.5m, 12m × 7.2m
Usage Today
The 1.66:1 format has been largely replaced by 1.85:1 and 2.35:1 in modern cinema, but is still used:
Regional Usage:
- India: Continues to be a widescreen standard
- Eastern Europe: Occasional use in arthouse cinemas
- Festivals: Occasional re-release of classic films
Current Productions:
- Practically no new mainstream films
- Occasionally in European independent cinema
- Deliberate nostalgic revisiting as an artistic choice
Why the Replacement:
- 1.85:1 offered more width, but benefited the theaters
- Digitalization enabled flexible formats
- Globalization standardized on American 1.85:1 and 2.35:1
- 1.66:1 perceived as an "outdated middle ground"
Comparison: European vs. American vs. Asian
| Standard | Ratio | Region | Cinema Era | Characteristics |
|---|---|---|---|---|
| 1.33:1 | Academy | USA/Global | 1932-1980 | Classic, square |
| 1.66:1 | European | Europe | 1960-1995 | Balanced, artistic |
| 1.85:1 | American | USA/Global | 1970-Present | Modern Standard |
| 2.35:1 | Cinemascope | Epic/Global | 1953-Present | Extreme Widescreen |
| 2.20:1 | Panavision | Alternative | 1970-Present | Premium Widescreen |
Technical Differences:
| Aspect | 1.66:1 | 1.85:1 | 2.35:1 |
|---|---|---|---|
| Height to Width | 60% | 54% | 43% |
| Film Usage | Full 35mm | Full 35mm | Anamorphic/VistaVision |
| Projection | Spherical | Spherical | Anamorphic De-squeeze |
| Light Efficiency | Higher | Medium | Lower (Anamorphic) |
| Trend Direction | Decreasing | Decreasing | Increasing |
Historical Examples
Famous Films in 1.66:1:
- "8½" (Federico Fellini, 1963)
- "The Reckoning" (1965)
- "The Godfather" (Francis Ford Coppola, 1972) - originally 1.66:1 in Europe
- "The Name of the Rose" (Jean-Jacques Annaud, 1986)
- Many European classics from the 1960s-1980s
(Note: Many of these films were later re-released in different ratios)
Why the Format Makes Sense
For Filmmakers:
- Natural middle ground between intimacy and breadth
- European aesthetic: less "spectacle," more "truth"
- Better composition for psychological dramas
- Efficient use of film stock
For Viewers:
- Less radical width distortion than Cinemascope
- More immersive than Academy standard
- Natural for human-centric stories
- Vertical space for settings and environment
Digital Equivalents
Modern digital productions aiming to simulate 1.66:1:
- Cropping 16:9 (1.78:1) to 1.66:1
- DCI 2K: 2048 × 1232 pixels (exact 1.66:1)
- DCI 4K: 4096 × 2464 pixels (exact 1.66:1)
Further Information
Standards and Documentation:
- DIN 15614: German Cinema Standard
- ISO 326: International Standards Organization
- SMPTE RP 228: Academy Standards
Related Entries:
- Academy Ratio (1.33:1)
- Academy Sound Ratio (1.37:1)
- American Standard (1.85:1)
- Cinemascope (2.35:1)
From the crafts
Perspectives
Director
1.66:1 is a European philosophy: it preserves intimacy while allowing more width for visual storytelling. Popular in art-house cinema and psychological dramas.
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Cinemascope
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Test your knowledge
Quiz
1. Was beschreibt „Europäisches Breitbildformat / 1.66:1" am besten?
2. Zu welchem Department gehört „Europäisches Breitbildformat / 1.66:1"?
3. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?