Runway ML’s New Extend Feature and Aspect Ratio Funtime!

Again, here we go... Another big week for AI generative video.  Runway just released its new ‘extend frame’ feature, and it’s all over the internet.  Let’s break it down.

The example I made is from Fritz Lang’s 1927 Sci Fi, Metropolis. known as the first feature length sci-fi, it’s still relevant today and simply a masterpiece.

A nice article about the film:

https://screenrant.com/metropolis-fritz-lang-first-scifi-best-relevant/

Pro-Tip:  for a great resource with tons of free movies and sound, etc.  Go here:

https://archive.org/

Now, back to aspect ratio.  In the past, when a DP (Director of Photography) set up a shot, the composition was ‘locked In,’ That meant, that it was framed artistically for exactly what the director wanted the audience to focus on.

Enter AI and controversy!  Now, with the new tools, we are able to extend these frames automatically to fit a variety of formats.  Most notably, one for that evil little time-sucker in your pocket (or what you’re looking at this on), your phone.  Your cyborg-half, so to speak. For a little history, aspect ratio has always been in flux.  Defined as a ratio, 1:1 would be a square and the most common ratio (what you see on your HD TV), is 16:9, if you were to rotate that 90 Degrees that would be:  9:16.

From the machine (Chat GPT):The history of aspect ratio in filmmaking reflects technological advancements, artistic decisions, and audience expectations. Aspect ratio—defined as the proportional relationship between the width and height of an image—has evolved significantly since the inception of cinema. Here's a detailed timeline:

1. Early Cinema (Late 19th – Early 20th Century): 4:3 (1.33:1)

• Origins: Early filmmakers used the 4:3 aspect ratio, inspired by the dimensions of film stock and early projection systems like Thomas Edison’s Kinetoscope.

• Technical Basis: 35mm film was introduced with a standard frame size, making 1.33:1 the de facto aspect ratio for silent films.

• Characteristics: This nearly square format dominated early cinema, suitable for the framing needs of straightforward storytelling.

  
  

2. Sound Film Era (1920s – 1930s): 1.37:1 Academy Ratio

• Transition to Sound: Adding synchronized sound required space on the film strip for an audio track, slightly altering the frame to the "Academy Ratio" (1.37:1).

• Standardization: In 1932, the Academy of Motion Picture Arts and Sciences formally adopted 1.37:1, and it became standard for Hollywood productions.

  
  

3. Rise of Widescreen (1950s): Various Ratios (2.35:1, 1.85:1)

• Television Competition: The emergence of TV (4:3) pushed filmmakers to differentiate cinema with immersive widescreen formats.

• Cinemascope (1953):

  • Introduced with The Robe, it used anamorphic lenses to create a 2.35:1 aspect ratio.

  • Provided a more dramatic and expansive viewing experience.

• VistaVision (1954):

  • Developed by Paramount Pictures, VistaVision offered a horizontal film format with an aspect ratio of 1.85:1.

  • Became the most widely used standard for non-anamorphic widescreen films in the U.S.

• Other Formats:

  • Cinerama (2.59:1) and Todd-AO (2.20:1) experimented with even wider screens.

    
    

4. European Influence and Artistic Choices (1960s – 1980s)

• Diverse Ratios: European directors used varying aspect ratios, often opting for wider formats like 2.35:1 to match cinematic storytelling styles.

• Artistic Experimentation: Directors like Federico Fellini and Akira Kurosawa explored the use of aspect ratios as a storytelling device.

• 1.66:1: Popular in Europe, this ratio struck a balance between widescreen and the squarer Academy Ratio.

  
  

5. Modern Digital Era (1990s – Present): Versatility

• Digital Revolution: Digital cameras and editing software allow filmmakers to choose from a wide range of aspect ratios.

• IMAX (1.43:1 or 1.90:1):

  • Developed for immersive, large-scale projection.

  • Widely used for action blockbusters like The Dark Knight.

• Return to Classic Ratios: Directors like Wes Anderson (The Grand Budapest Hotel, 1.33:1) and Robert Eggers (The Lighthouse, 1.19:1) experiment with older or custom ratios for artistic purposes.

• Streaming and TV:

  • 16:9 (1.78:1) is now the standard for HDTV, closely aligning with theatrical 1.85:1.

  • Streaming platforms use flexible formats, often accommodating wider cinematic aspect ratios (e.g., 2.39:1).

6. Aspect Ratio as a Storytelling Tool

• Filmmakers today treat aspect ratio as a dynamic tool:

  • The Grand Budapest Hotel shifts aspect ratios to denote different timelines.

  • The Lighthouse uses a narrow aspect ratio to heighten claustrophobia.

  • Dunkirk alternates between IMAX and widescreen formats for narrative tension.

Key Takeaways

• The evolution of aspect ratios reflects changing technologies, artistic goals, and audience preferences.

• From the square-like 4:3 to ultra-wide 2.39:1, filmmakers use aspect ratios to shape the emotional and visual impact of their work.

• Today, aspect ratio choices are more versatile than ever, blending tradition and innovation.

In order to account for the need for clients to publish in multiple mediums:  TVC’s, YouTube, TikTok, Instagram, etc.  I’ve altered some of my shooting techniques.  That is:  I frame in such a way (and at a minimum of 4k), so that it can be re-positioned in post to fit the vertical format.  Others go as far as attaching another camera (or iPhone, etc.), to the main camera, so, that it’s shooting both at the same time. 

But, now, we have another option. Personally, I’ve always leaned toward the 16:9 ratio as it accounts more the periphery of normal vision.  And, though not perfect, it looks like we have some new tools, that will only improve, of course, to help with all of this.

What are your thoughts?

Ian