Filmaxrip vs Criterionrip
El dvd de filmax no solo tiene un aspecto más "decaído", es que el AR es
incorrecto: 1.33:1 frente al 1.66:1 de Criterion, que supongo será el adecuado (el contendiente para AR correcto sería 1.85:1, pero
no 1.33)
La película esta rodada en
VistaVision (ver información
en ZonaDVD), por lo que el AR no es 1.33:1 ni en fullframe.
Cito
ZonaDVD:
"Si lo habitual hasta aquel momento era que el negativo pasase por la cámara de manera vertical, en el VistaVision éste lo hacía de manera horizontal, de modo que el número de perforaciones por fotograma se incrementaba en cuatro, hasta un total de ocho. Por lo tanto, el área de negativo empleado por cada fotograma también era mayor (justo el doble), consiguiendo imágenes de gran calidad manteniendo el número de fotogramas por segundo en veinticuatro. No se utilizaban lentes anamórficas que comprimiesen la imagen en el negativo, que seguía siendo de 35 mm, y la relación de aspecto podía variar, a gusto del exhibidor, entre
1.66:1 y
1.96:1. Las películas estaban compuestas para aceptar diversos ratios, porque la compatibilidad con las salas ya existentes en aquel momento era primordial."
Cito
American Widescreen Museum
"VistaVision's Aspect Ratio
Let's Kill The Fallacy
You can read all over the Internet, in magazines, and even on the backs of DVD cases that VistaVision's aspect ratio was 1.66:1. Well, it ain't so.
Prior to the introduction of VistaVision, Paramount Pictures promoted the 1.66:1 aspect ratio as THE ideal shape for movies. But when VistaVision came into being they quickly changed their tune and strongly supported a ratio of 1.85:1. Their framing guide, (see bottom of this page), made provision for showing films at 1.66:1, 1.85:1 and 2:1. For struggling theatres Paramount felt that they could use 1.66:1 and not need to spend a huge amount of money installing a new screen and having major achitectural changes to their prosceniums. For theatres that had put in big screens for CinemaScope, Paramount felt that the Technicolor print could hold up to being cropped to an aspect ratio of 2:1, though it was not a recommendation. It was good old 1.85:1, the same shape that the other studios were quickly adopting for their cropped wide screen films that Paramount recommended for VistaVision. And compared to your run of the mill cropped wide screen image, VistaVision just blew them away. In Europe, where 1.66:1 was a much more commonly used ratio for cropped wide screen, VistaVision was still recommended to be shown at 1.85:1. The Rank Organisation, the Eastern hemisphere's promoter of VV, even developed an anamorphic print that had a 1.85:1 ratio.
So don't go believing the junk on the back of those DVD boxes."
Cito
Criterion
"Since the original theatrical release of Laurence Olivier's Richard III in April 1955, durations of the film have been published ranging anywhere from 155 minutes to 161 minutes. In the 1970s, the film reemerged but lacked nearly twenty minutes of the original adaptation. Unfortunately, the most complete version available on home video, Criterion's 154-minute laserdisc reconstruction, was still missing a number of shots and segments of scenes when compared to the official “release script” filed by London Films International in 1956. For this special edition DVD, the digital restoration is drawn from multiple film elements, and while some scenes show noticeable variation in image quality, this version of Richard III finally matches the official release script page for page.
Originally shot in VistaVision, the film is presented here in the European theatrical aspect ratio of 1.66:1. On standard 4:3 televisions, the image will appear letterboxed. One standard and widescreen televisions, black bars may also be visible on the left and right to maintain the proper screen format. The new 24p high-definition digital transfer was made on a Spirit Datacine from a 35mm color reversal intermediate. Missing scenes were inserted from newly rediscovered 35mm prints transferred on a Cintel C-Reality equipped with Oliver electronic wet-gate processing for dirt and scratch removal. The entire feature was restored using the MTI Restore system, to remove thousands of instances of dirt, debris, and scratches. The sound was mastered at 24-bit from several 35mm optical soundtrack print. The Dolby Digital 1.0 signal will de directed to the center channel on 5.1-channel sound systems, but some viewers may prefer to switch to two-channel playback for a wider dispersal of the mono sound."