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.
Nichols and Surtees masterfully used the 1.85:1 frame to isolate Benjamin Braddock in wide, empty fields – the moderate width emphasizes loneliness without the drama of a Scope format.
Gordon Willis' camerawork in 1.85:1 creates precisely framed two-person scenes where the format gives characters enough room without losing them – a prime example of dialogue-driven flat cinema.
Roger Deakins used 1.85:1 to capture Minnesota's endless snowscapes – the format provides enough horizontal expanse for the landscape while retaining intimacy for character study.
Sam Levy's work in 1.85:1 underscores the intimate, character-centred narrative – the North American standard format lends the film a classical cinematic quality that perfectly matches the story's emotional immediacy.
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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:
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.
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.
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.
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.
1.85:1 is my go-to aspect ratio for character dramas – wide enough for visual context, but with generous vertical space for faces. Technically, it comes from a top/bottom mask on 4-perf 35mm, utilizing only 48% of the negative. I always frame with 1.85:1 lines in the viewfinder and leave 5-10% headroom for DI correction. The vertical generosity allows for over-the-shoulder shots with more breathing room than 2.39:1.
1.85:1 is the format for intimate dramas and character studies – Spielberg, Scorsese, Nolan choose it for films that emphasize human interaction. The moderate width doesn't distract from the face, but allows enough environment for mood. I choose 1.85:1 when the story is more important than the spectacle, when dialogue dominates, and when close-ups are emotionally central.
1.85:1 is budget-friendly – no anamorphic lenses are needed, standard spherical optics suffice. The release prints are cheaper than Scope formats. For TV distribution, 1.85:1 is optimal – minimal letterboxing on 16:9 screens (just small black bars). Post-production is simpler, as no de-squeeze conversion is required.
1. Was beschreibt „1.85:1 (Flat)" am besten?
2. Zu welchem Department gehört „1.85:1 (Flat)"?
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