.seo-fallback{max-width:46rem;margin:0 auto;padding:2.5rem 1.25rem 4rem; font:16px/1.6 Inter,system-ui,sans-serif;color:#EDE9F5;background:#0E0A1B} .seo-fallback a{color:#FFCA3A} .seo-fallback h1{font-size:1.75rem;line-height:1.2;margin:.5rem 0 1rem} .seo-fallback h2{font-size:1.05rem;margin:2rem 0 .5rem;color:#9C93B8; text-transform:uppercase;letter-spacing:.08em} .seo-fallback ul{padding-left:1.1rem;margin:.5rem 0} .seo-fallback li{margin:.3rem 0} .seo-fallback .seo-meta{color:#9C93B8;font-size:.9rem} .seo-fallback .seo-note{margin-top:2.5rem;color:#9C93B8;font-size:.85rem; border-top:1px solid #2A2340;padding-top:1rem}

FilmSkool — a free film school

What is 2:1 Aspect Ratio — Why David Fincher, Ari Aster, and More Directors are Switching to 18:9

Traces the rise of the 2:1 aspect ratio in recent films, explaining the practical and aesthetic reasons directors like David Fincher and Ari Aster adopted it over standard widescreen.

StudioBinder · 6 min · Intermediate · CIN · Cinematography · 2020

What you take away

Weigh 2:1 against 2.39:1 when a story needs a touch more vertical frame than scope allows.

Watch it

Filed under

The films of David Fincher

Shot anamorphic and wide

Oscar winners for cinematography

Gravity (2013)
Life of Pi (2012)

Books on cinematography

Kit for this lesson

SIRUI Saturn 35mm T2.9 1.6x anamorphic — Carbon-fibre anamorphic, full-frame coverage
Laowa Nanomorph 35mm T2.4 1.5x — Anamorphic small enough for a gimbal
Laowa Nanomorph 50mm T2.4 1.5x — The Nanomorph normal — still small enough to fly
SIRUI Venus 50mm T2.9 1.6x anamorphic — Full-frame anamorphic, the cheapest there is
Sony FE 24-70mm F2.8 GM II — The standard zoom most FX bodies wear
Sony FE 16-35mm F2.8 GM II — The wide end of the same set

More Cinematography

Roger Deakins on How to Choose a Camera Lens — Cinematography Techniques Ep. 8 — StudioBinder · 10m · Intermediate
Sony Picture Profiles & Dynamic Range Guide (Cine vs S-Log vs HLG) — Gerald Undone · 24m · Advanced
The Pros & Cons Of Film Vs Digital: Featuring Robert Yeoman — In Depth Cine · 15m · Advanced
Mother (2009) - The Telephoto Profile Shot — Every Frame a Painting · 4m · Advanced
How Cinematographers Set Their Exposure — In Depth Cine · 13m · Intermediate
Making THE ROYAL TENENBAUMS (with Wes Anderson & Robert Yeoman) — Cinematographers on cinematography · 27m · Advanced
Cinematic Film Composition — Roger Deakins on Blocking, Staging & Composition in Cinematography — StudioBinder · 7m · Intermediate
Depth of field | Virtual Cameras | Computer animation | Khan Academy — Khan Academy Labs · 3m · Intermediate
Roger Deakins on "Learning to Light" — Cinematography Techniques Ep. 1 — StudioBinder · 9m · Intermediate
Shooting “Moonrise Kingdom" (with Wes Anderson & Robert Yeoman) — Cinematographers on cinematography · 17m · Advanced
Ultimate Guide to Camera Lenses — Every Type of Camera Lens Explained [Shot List Ep. 7] — StudioBinder · 20m · Beginner
Depth of Field Explained: Ultimate Guide to Camera Focus [Shot List Ep. 4] — StudioBinder · 15m · Beginner

This is the plain index, shown because JavaScript is off. Every lesson here is a free video published by the channel credited on it and plays through that channel's own embed — FilmSkool hosts nothing.