Aspect ratio is width divided by height, so the smaller number here produces the taller picture at equal width.
The same IMAX label can deliver a different amount of picture. The movie and room must both support the expanded frame.
Some IMAX releases protect a wide composition, then reveal more above and below during selected shots. The boundary can change while projection continues normally. The film table records the tallest ratio and published duration.
The important action normally survives the wide crop. The tall version adds scale and context, not a different story.
The projectable image shape of horizontal 15/70 IMAX film, conventionally rounded from a reported 69.60 by 48.59mm aperture. IMAX uses 1.43:1 as its current public label for its tallest film and digital presentations.
IMAX 15/70 prints and specially mastered digital presentations in compatible GT Laser rooms. Only an operable 15/70 projector or 1.43-capable dual-laser system can fill this shape with a 1.43 master. A tall screen alone is not enough.
A standard 35mm flat projection shape. SMPTE specifies a 20.96mm image width and a minimum 11.33mm height for 1.85 projection.
Many non-anamorphic theatrical films. An IMAX venue can show 1.85 content with slight unused space at the sides of a 1.90 canvas, or within a 1.43 screen.
The full 4096 by 2160 DCI 4K container is approximately 1.896:1. IMAX uses the rounded 1.90:1 label for its common digital expanded presentation.
Dual-2K xenon, Commercial Laser, Laser XT, and GT Laser can present a 1.90 IMAX master. At equal width it provides up to about 26% more picture area than 2.39, if the master contains that additional image.
Cinematographer Vittorio Storaro promoted a 2:1 common composition called Univisium, positioned between television and wider theatrical shapes.
Some cinema and streaming productions use 2.00:1. Any IMAX room can show a 2.00 master, normally with narrow unused bands above and below a 1.90 canvas or larger bands on a 1.43 screen.
The normal screen shape of spherical 5-perf 70mm release printing after the larger 65mm camera image is reduced and masked for projection and soundtrack space.
Todd-AO, Super Panavision 70, and modern conventional 70mm prints commonly use it. IMAX rooms can show a 2.20 master letterboxed, and an IMAX 15/70 print can alternate between 2.20 footage and taller 1.43 footage.
The standardized modern anamorphic projection shape. SMPTE RP 40 specifies 2.39:1 for the anamorphic projector aperture.
A large share of widescreen feature films and the non-expanded portions of many IMAX releases. Every IMAX system can show it, with unused screen area above and below on 1.90 or 1.43 screens.
The nominal unsqueezed image from classic Camera 65 and Ultra Panavision photography, which applied a 1.25:1 anamorphic squeeze to the 5-perf 65mm frame.
Ben-Hur and modern Ultra Panavision productions such as The Hateful Eight use the process, although actual release masking can vary. IMAX can present a 2.76 master only letterboxed within its 1.90 or 1.43 canvas.
Miss one and the picture is shorter. Pair the full-height venue list with the film lookup.