J'ai peut-être été vite en besogne, mais au niveau des tournages, le site de référence de Bob Furmanek indique bien : "THE ROBE began filming on February 24, 1953. Within four months, the production of standard ratio features had come to an end. Between February 24 and June 24, it was nearly an even split: fifty-two standard ratio features went before the cameras and forty-seven widescreen features had begun filming.
However, by April 1, 1.37 was rapidly declining as the compositional ratio among filmmakers. Films would still be protected for the standard ratio as exhibitors around the world were concerned with a product shortage. For that reason, studio announcements would always state that new product would be "suitable for all screens." However, widescreen was now the primary intent during production."
Il me semblait cependant avoir précisé "la transition au niveau des tournages", du fait que comme le site l'indique, "Films would still be protected for the standard ratio as exhibitors around the world were concerned with a product shortage. However, widescreen was now the primary intent during production." C'est effectivement connu que c'est l'exploitation qui foutait ensuite le foutoir.
Disons qu'ici, le film n'a rien à voir avec la Warner ou un studio pratiquant l'open matte 1.78, et que le remaster HD n'a pas été effectué par un studio mais "Restored by UCLA Film & Television Archive in association with The Film Foundation. Restoration funding provided by The Film Foundation.", donc des gens qui, a priori, n'ont pas de raison de ne pas s'en tenir au strict format 1.85.Sledge Hammer a écrit : ↑22 août 23, 21:40Quant au 1.78:1, c'est concrètement le format auquel Warner (et souvent Paramount) recadre systématiquement ses films conçus pour du 1.85:1. Sur un téléviseur, ça représente des baguettes de 2 cm en haut et en bas que l'on voyait "en plus" par rapport à une projection.