, directed by Roland Emmerich, was filmed using the process, which allows for the creation of an "Open Matte" version. Unlike the theatrical release which is cropped for a wide cinematic look, the open matte version reveals more visual information at the top and bottom of the frame. Understanding the Formats Theatrical Version (2.39:1)
: This is the intended "Scope" presentation seen in theaters and on most 4K/Blu-ray releases. It uses "soft matting" to crop the original film image into a thin, wide rectangle for a cinematic feel. Open Matte Version (1.78:1 / 16:9)
: By removing the horizontal mattes (black bars), more of the originally exposed 35mm film is visible. This version fills modern widescreen TVs completely without losing significant detail on the sides. Visual Impact on the Kaiju In a monster movie like
, the aspect ratio significantly affects the sense of scale: Verticality
: Fans often prefer the open matte version because it showcases the full height of Godzilla (Zilla) as he towers over New York City. In scenes where his head or spines might be cut off by theatrical bars, the open matte reveals his entire profile.
: Comparisons show that while the widescreen version feels more focused and cinematic, the open matte version reveals additional environment details, such as more of the East River or the street-level destruction. Availability and Controversy
For film enthusiasts and archivists, the "Open Matte" version of
(1998) is a unique curiosity that reveals more of the frame than was seen in theaters. While most official home video releases preserve the theatrical widescreen look, certain broadcast and digital versions provide a taller perspective that changes the visual impact of the film's "giant monster" scale. Technical Background: Super 35 Directed by Roland Emmerich was filmed using the cinematographic process. Theatrical Ratio:
2.39:1 (a wide "scope" format with black bars on top and bottom). Open Matte Ratio:
~1.78:1 (fills a standard 16:9 widescreen TV) or ~1.33:1 (for old 4:3 televisions). The Process:
In Super 35, the camera captures a larger, nearly square area of the 35mm film negative. For theaters, the top and bottom are "masked" (hidden) to create the cinematic widescreen shape. An "open matte" version simply removes these masks, showing the vertical information that was originally cut out. Visual Impact: Height vs. Composition
The open matte version offers a trade-off between the director's intended framing and the sheer amount of visual data on screen. 🦖 Increased Scale
is a movie about a massive creature, the open matte version is popular among fans because it emphasizes verticality Tall Skyscrapers:
You can see more of the New York City skyline in the same frame as the monster. Monster Size:
In many shots, the extra room at the top and bottom makes Godzilla feel more imposing compared to the humans on the ground. 🎬 Compositional Trade-offs
Director Roland Emmerich and cinematographer Karl Walter Lindenlaub composed the film specifically for the 2.39:1 ratio. Dead Space:
Open matte versions often have "dead air" at the top and bottom that looks empty or unbalanced. Technical Gaffes:
Sometimes, removing the matte reveals production equipment like or the edges of sets that were never meant to be seen. Availability and Modern Versions
If you are looking for the best way to watch the film today, you generally have to choose between theatrical intent and the "expanded" view. Godzilla (1998) Godzilla 1998 Open Matte
Tech specs * 2h 19m(139 min) * Sound mix. DTS. Dolby Digital. * Aspect ratio. 2.39 : 1.
, directed by Roland Emmerich, was filmed using the process, which naturally captures a taller image than the final widescreen presentation seen in theaters. While the official theatrical and home media releases typically use a 2.39:1 aspect ratio
, "Open Matte" versions reveal more visual information at the top and bottom of the frame that is usually hidden by black bars. What is the "Open Matte" Version?
In traditional filmmaking, directors often "matte" out parts of the captured image to focus the audience's attention on a specific wide-frame composition. For Widescreen (2.39:1)
: The standard "intended" look, often seen on Blu-rays and in 4K remasters. Open Matte (roughly 1.78:1 or 16:9)
: By removing the mattes, the image "opens up" vertically. This often fills a modern 16:9 widescreen TV entirely, removing the letterbox bars. Visual Impact and Differences
Watching the open matte version significantly changes the sense of scale in New York City:
The Godzilla (1998) Open Matte version serves as a fascinating technical artifact in the history of monster cinema. While the film, directed by Roland Emmerich and starring Matthew Broderick, remains a polarizing entry in the franchise, the "Open Matte" presentation offers a unique perspective that arguably enhances the "kaiju" experience more than its theatrical widescreen release. Technical Context: The Super 35 Legacy
To understand the Open Matte version, one must look at the film's production. Godzilla was filmed using the Super 35 process. In this format, the entire 35mm film frame is used to capture an image, which is then "matted" (black bars added to the top and bottom) to create the wide 2.39:1 aspect ratio seen in theaters.
Theatrical Aspect Ratio (2.39:1): Focused on cinematic "scope," emphasizing wide cityscapes and the horizontal scale of Manhattan.
Open Matte Aspect Ratio (approx. 1.78:1 or 4:3): By "opening the mattes," the film reveals vertical image data originally intended to be hidden. This was historically used to fill older 4:3 television screens for VHS and early DVD releases without zooming in and losing detail (a process known as pan-and-scan). The Impact on the Monster's Scale
For a creature like Godzilla—characterized by immense height—the Open Matte version provides a distinct advantage in framing.
The "Open Matte" Legacy of Godzilla (1998) The 1998 American reboot of
, directed by Roland Emmerich, remains one of the most debated entries in the franchise's history. Beyond the discussions regarding its creature design and departure from Toho's original vision, a niche but dedicated community of cinephiles and home media collectors has kept the film alive through the lens of its "Open Matte" presentation. What is "Open Matte"?
Most modern films are shot with a "widescreen" aspect ratio in mind (typically 2.39:1 or 1.85:1). In an open matte version, the "mattes" (the black bars at the top and bottom of the screen) are removed, revealing parts of the filmed frame that were originally cropped out for the theatrical release. For Godzilla (1998), which was filmed in Super 35, an open matte presentation provides a 16:9 (1.78:1) view that fills modern television screens without losing image from the sides. Why Fans Seek the 1998 Open Matte Version
For a film centered on a 200-foot-tall monster in the vertical canyons of New York City, the open matte version offers several visual advantages:
Enhanced Scale: The extra vertical space allows viewers to see more of the monster's height and the towering skyscrapers of Manhattan simultaneously.
Immersive Action: Many fans feel that the "full screen" look (without black bars) makes the destruction of the city feel more immediate and overwhelming. , directed by Roland Emmerich, was filmed using
Hidden Details: While theatrical crops are the "director's intent," open matte versions sometimes reveal more of the practical sets and miniature work done by the special effects crew. Availability and Controversy
The Godzilla (1998) open matte version has primarily been available through older HDTV broadcasts and specific full-screen DVD releases. However, it is not the "official" way the film was intended to be seen.
Technical Flaws: Because these areas weren't meant to be seen, open matte versions can occasionally reveal production equipment, like boom mics or light stands, at the very edges of the frame.
Composition: Director Roland Emmerich and cinematographer Karl Walter Lindenlaub composed the film specifically for a widescreen 2.39:1 aspect ratio to create a cinematic, "epic" feel.
Despite being a "box office bomb" by industry standards, the film’s unique technical history continues to fascinate those looking for the "biggest" possible way to view this version of the King of the Monsters.
Specific technical details about the Super 35 filming process.
Reviews and comparisons between the theatrical and open matte versions.
The history of its creature design, which was famously inspired by Ray Harryhausen. Godzilla (1998) - IMDb
The Vertical Kaiju: Unlocking the Godzilla (1998) Open Matte Experience
For years, Roland Emmerich’s Godzilla (1998) has been synonymous with its "Scope" 2.39:1 theatrical presentation. However, a dedicated corner of the kaiju fandom has long sought out a different way to view the TriStar monster: the Open Matte version.
By "opening the matte," viewers see more of the image at the top and bottom of the frame—pixels that were originally hidden behind the black bars of a widescreen display. For a monster as tall as Godzilla, this change in perspective can transform the entire viewing experience. What is "Open Matte"?
Unlike "Pan and Scan"—which crops the sides of a widescreen image to fit a square TV—Open Matte reveals image data captured by the camera but intentionally masked for theaters. Godzilla was filmed using Super 35 (specifically common-top), a process that captures a much taller image than what is eventually shown on a 2.39:1 cinema screen. Why Fandom Prefers the Expanded View
Enhanced Scale: In the theatrical version, Godzilla is often "beheaded" or cut off at the feet in close-ups. The Open Matte version allows the "skyscraper-sized lizard" to take up the full verticality of the screen, making the creature feel more imposing against the New York skyline.
Atmospheric Immersion: The 1998 film is famous for its constant rain and dark, moody lighting. Seeing more of the flooded streets and rainy skies adds to the claustrophobic, urban-warfare atmosphere of the film.
Production Oddities: While providing more visual information, Open Matte versions can occasionally reveal "sins of production," such as boom mics or the edges of sets that were never meant to be seen by the public. Where to Find It
Finding an official "Open Matte" release is rare, as most modern home media—including the 4K Ultra HD Remaster available on Amazon—sticks to the director's intended theatrical aspect ratio. Godzilla movie review & film summary - Roger Ebert
Roland Emmerich's Godzilla (1998) is a legendary cinematic disaster but an incredibly fun popcorn monster movie. However, viewing it in the highly sought-after Open Matte format fundamentally alters the visual scale and the overall experience of the film. 🎥 The Aspect Ratio Breakdown
The film was originally shot on Super 35 film and framed for a theatrical widescreen aspect ratio of 2.39:1. The "Open Matte" version removes the black bars at the top and bottom of the frame, filling up a full 16:9 (1.78:1) or 4:3 screen. Visible Boom Mics: In several dialogue scenes (particularly
Theatrical Widescreen (2.39:1): Focused, wide panoramas that Emmerich intended for cinema, cropping out non-essential vertical information.
Open Matte (1.78:1 / 1.33:1): Unlocks the full vertical frame of the film negative. Because "Zilla" is a massive vertical creature, you can actually see more of his towering anatomy and the true scale of the towering New York skyscrapers. ⭐ The Visual Experience: Scale vs. VFX The Good: Monstrous Verticality
The biggest critique of Emmerich's film was that his reimagined monster felt too small and acted too much like a giant iguana or a Jurassic Park raptor rip-off.
The open matte presentation ironically fixes some of this visual claustrophobia.
Scenes of the monster stepping over cars or ducking between buildings gain a breathtaking amount of vertical headspace.
You see feet and heads in the same frame that are normally cropped out in the theatrical cut. The Bad: Dated CGI & Composition
Compositional Dead Space: Emmerich and cinematographer Karl Walter Lindenlaub did not compose the shots for full-screen. Many open matte shots have vast, empty skies or blank pavement that ruin the intended cinematic tension.
Exposed VFX Shortcuts: The CGI in 1998 was groundbreaking, but scanning the raw vertical edges of the frame reveals where digital elements, shadows, and practical rain machines simply end or weren't fully rendered to fill the expanded space. 🎭 The Movie Itself: A Proper Critical Review
Setting the technical format aside, how does the actual movie hold up?
The open matte version of the 1998 film is a significant curiosity for fans and cinephiles, primarily because it alters the intended visual scope of the movie to better emphasize the central monster's scale. While the theatrical release used a 2.39:1 anamorphic aspect ratio—a wide "cinemascope" look standard for epics—the open matte version (typically appearing in 1.78:1 or 16:9 for television) reveals parts of the frame originally hidden by black bars. The Technical Reality of "Opening the Matte"
More Picture, Less Artistry: Most of Godzilla (1998) was shot using Super 35 film. In this process, the camera captures a larger, more "square" image, which is then "matted" or cropped at the top and bottom to create the widescreen theatrical look.
The 1.78:1 Advantage: For many fans, the open matte version is preferable for a kaiju movie because the vertical "extra" space makes Godzilla feel taller. Filmmakers like Steven Spielberg famously used a taller 1.85:1 ratio for Jurassic Park for this exact reason: it fills more of the vertical frame with the creature. Visual Impact and Drawbacks
While the open matte version "unmasks" more of the set, it isn't always the "better" version of the film:
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.
The most famous sequence is the chase through the taxis and the subsequent missile strike. In the widescreen cut, it feels like a standard action scene. In the Open Matte version, the added vertical space creates a "vertigo" effect. You see the fish market roofs above the characters and the subway grates below. When the camera tilts up at Godzilla, you actually see three blocks of cityscape behind him.
Before diving into Manhattan’s rubble, let’s define the terminology. When a movie is shot on 35mm film, the camera negative usually captures a ratio of 1.33:1 or 1.37:1 (the classic Academy ratio, close to the shape of an old tube TV). However, directors compose for widescreen.
Think of it like a widescreen photo vs. the original full-frame selfie. The widescreen is what the director intended for a dark theater. The Open Matte is the raw data.