Super 35 uses the same 35mm film stock but utilizes a larger image area by occupying the space typically reserved for the optical soundtrack. As noted on a film restoration forum, "if it's listed as Super35mm, it isn't anamorphic, and then 99% open matte". This technique became popular in the 1990s, especially for visual effects-heavy films, as it provided more flexibility in framing and post-production.
The search for is more than just nostalgia. It is a window into a forgotten era of film exhibition—the transition period between 35mm theater prints and digital IMAX. It shows us a version of the GINO (Godzilla In Name Only) that is bigger, weirder, and visually richer.
Open Matte isn't always pretty. Because the cinematographer framed for 2.39, the 1.33 frame sometimes includes things you weren't meant to see. Godzilla 1998 Open Matte
However, the open matte version emphasizes verticality. Unmasking the top and bottom reveals more of the towering buildings, making the creature look more integrated into the concrete canyons of Manhattan. Scale and Composition
To understand the allure of this version, we first need a quick lesson in cinematography. When a film is shot, the director of photography frames the image using the entire area of the film negative. For most modern widescreen movies, this negative is then "masked" or "matted" in the theater and on home video to achieve a specific aspect ratio, like the used for Godzilla 1998 . This masking removes the top and bottom portions of the original image, creating a narrower, more panoramic composition. Super 35 uses the same 35mm film stock
+-------------------------------------------------------+ | Open Matte Area (Top) | | +-------------------------------------------------+ | | | | | | | Theatrical Widescreen Frame (2.39:1) | | | | | | | +-------------------------------------------------+ | | Open Matte Area (Bottom) | +-------------------------------------------------------+
It's not a second Godzilla.
Decades after its theatrical release, a specific version of this film has captured the attention of cinephiles and collectors: the presentation. This uncropped version completely alters how the film is viewed, revealing hidden details and changing the overall visual experience. What is an Open Matte Presentation?
Scenes of the monster stepping over cars or ducking between buildings gain a breathtaking amount of vertical headspace. The search for is more than just nostalgia
Viewers might catch glimpses of equipment, lighting rigs, or the edges of studio sets that the director intended to crop out. Comparing the Framing: Widescreen vs. Open Matte Theatrical Widescreen (2.39:1) Open Matte (1.78:1 / 16:9) Composition Intended artistic framing, tight, panoramic. Casual framing, expansive vertical view. Screen Space Black bars on top and bottom of modern TVs. Fills the entire television screen. Creature Visibility Focuses on horizontal destruction and tail sweeps. Highlights sheer height and vertical stomping. How to Find the Godzilla 1998 Open Matte Version