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Chromecast (via DIAL) eliminates a step by allowing launch and control of an app from a single device for playback on the TV through the Chromecast. This is cheaper than using anamorphic lenses, and it is a good way for a director to completely control the cinematography of his picture, but, because it only uses the middle part of the available film area, it sacrifices image resolution somewhat. In spite of this, he still has incredible abilities which include mind control, flight, psionic shielding, psionic blasts, illusions, and matter control at a molecular level. Once you’ve identified those expenses, you’ll be able to save yourself some money, and hopefully, still have a little fun money left in your budget. They still use 35mm film with a 1.37:1 aspect ratio, however, so they have to somehow impose another aspect ratio on that film. In this process, a video technician views the movie with its original aspect ratio and decides which television-sized chunk of the movie to show at any one time. This maintains the movie's original theatrical aspect ratio, so that you see everything the director intended you to see.

When they look through the camera, they see the entire picture exposed to the film and a superimposed rectangle indicating the theatrical aspect ratio. The advantage of this format is that it uses the entire film area to record the movie picture as it will finally appear, so it doesn't sacrifice any resolution in creating a wide aspect ratio picture. Since the 1960s, almost all major filmmakers have used a wide aspect ratio when making a theatrical movie. You would record the album to tape and listen to the tape so that you didn't have to take the album out of its sleeve. To watch the film you had to get out a big, clunky and temperamental projector, plus a screen. There are several ways of doing this, and the method the director chooses determines the video producer's options for modifying the film to fit a television screen. These things happen when a projectionist doesn't properly mask a soft-matted film. There are many disruptive things that a malicious intruder can do. On the actual film of a movie made with an anamorphic lens, all the people and things in each frame appear unnaturally tall and skinny. One of the most popular ways of producing a wider picture is to "squeeze" it onto the narrower film.

The operator can also create a pan from one side of the picture to another (hence the name of the process). If a movie was shot with an anamorphic lens or a hard matte, the two main formatting options are to letterbox the movie or pan and scan it. If the movie was shot using a soft matte, however, there is a third option. This method limits the depth of focus somewhat, however, and images in the background are sometimes distorted. A filmmaker using this method simply exposes the entire area of the film but composes his picture with only the middle part of the picture in mind. We know that a filmmaker using a soft matte exposes the entire film area when shooting a movie. A filmmaker can hard matte a film by attaching a special mask to the camera. The camera may show only the middle part of the film to the director and cinematographer, or it may have an outline on the entire image that indicates the borders of the desired aspect ratio.

Once you're ready to watch digital broadcasts, the last thing you may need to adjust is your set's aspect ratio. If 35mm film is used, this full image has an aspect ratio of 1.37:1, fairly close to television's 1.33:1 aspect ratio. But if you are a student of film and want to fully experience the movie as a work of art, then the letterbox format is the only way to go.37:1 format and so can be shown full frame on a television without cutting much of the image. When a soft-matted film is projected, the projectionist has to mask it correctly so that only the middle part of the picture appears on the screen. The format is particularly common on DVDs because their increased storage capacity can hold both a letterbox version and a full-frame version, a presentation that uses the entire television screen. Most viewers are bothered by the black bars at the top and bottom of their screen more than they are bothered by the idea of not seeing the picture as it was originally filmed, so full-frame movie presentations are much more prevalent than letterbox presentations.

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