Aspect ratio

more appropriate.

because uh foil drive foil assist was most of the videos that have come out so there's not very much wind involved well at least the the largest amount of excitement that seems to be going on with the people who are visiting and taking videos from the event seem to be in and around some sort of electrical foil uh foiling assist and then probably second to that is power wing which is so the concept of just using a very small uh a very small wing that you can pack away literally as an assist like they're using uh para wings are being used to get on foil and then you pack it away as quickly as possible so you're just boiling that's majority of what i'm uh what i've been seeing in trench boards and not trench boards and covers and and higher aspect ratio foil wings that's what's coming out uh but from the kites side of things we're we're sort of gone by the wayside now look we're we're in a similar boat to when uh when kiting was the premier thing at these shows windsurfing was kind of a side note well we're a bit of a side note uh two interesting product releases well ozone have already released the products but uh jesse was there and did a nice video on there uh their two new releases uh nash presented uh the psycho in vision which made a change from the previous version so this is the This is the kite that we've been seeing Jason use in some recent comps.

With the

digital print, yeah.

So the bridle tune can really dictate where the kite spins around its own length, and a little bit of sweep as well.

So at the end of the day, it depends, and it all comes down to design.

Mainly it's aerodynamic design, aspect ratio, profile, angle of attack, canopy tension, and leading edge shape.

Two kites of the same size can feel totally different because their profiles and bridle systems change how efficiently they convert wind into forward speed.

But when it started to allow, I remember I uploaded my very first HD video to YouTube, how exciting that was.

And then when it started to accept different aspect ratios, because we would have to upload something in a widescreen format.

69 format

yeah

So that was a thing.

Aspect ratio was another, another thing that, that my first Ari was, Ari said, let's do one, eight, five.

Ari and Nate were both on board.

Let's do one, eight, five.

So reluctantly, I was like, okay, well, 185.

And then...

As the show progressed, it was like, oh, this is a really great aspect ratio for that aspect of the story.

Even though the first three or four weeks of the show were just uttered with wildfire smoke from around.

Yeah.

Nick has asked the question, can Monty talk about aspect ratio and also about modern materials like 3DI?

Yeah.

Well, aspect ratio, that's luff length relative to boom length.

And what to say about it? Yeah.

guess to to keep it simple to just contrast like uh foil designs tend to be higher aspect ratio than than slalom and why is that is there any clear reason i have a theory i could be proven wrong but when the slalom board is making contact with the water where the foil doesn't i think that the long boom provides a certain lift to help get the board up and ride the fin.

if you keep that lower aspect ratio of the foil designs and of the slalom designs, and you put it on a foil board, there's too much lift and the foil likes to have more downforce.

So the shorter boom and the longer luff gives a, just by that simple formula, shorter, longer, the leech becomes more flexible and that gives more downforce on the, on the, for the foil.

But that's not what I'm saying.

So they would shoot the movie and print the movie safe for both aspect ratios and ship it out.

And if the theater had the right equipment to show it in 185, they would.

Otherwise, they'd show it in whatever one was used to seeing.

This will get us back to, like, the Odyssey.

That, like, there's no analog physical, like, limitations on what the aspect ratio can be.

So you get multiple movies that have, like, lots of different aspect ratios.

You know, I think of, like, High Life with Claire Denis.

Audio commentary by director Oliver Hershbergl.

Aspect ratio 1 to 851.

Audio is English DTS HD 5.1 surround plus LPCM 2.0 stereo.

Optional English subtitles.

This limited edition two-disc hardbox includes the film on both 4K UHD and Blu-ray, restored from the original 35mm negative, accompanied by six audio tracks and the heist full of special features and a 60-page hardcard booklet featuring a brand new essay by Danger Diabolic historian Leon Hunt.

This is limited to 1500 copies only.

Disc 1, the special features and technical specs include on Disc 1, which is the 4K UHD, 2160p ultra high definition presentation on 4K UHD, Dolby Vision and HDR10, audio commentary by Mario Bava biographer Tim Lucas from 2020, audio commentary by actor John Philip Law and Mario Bava biographer Tim Lucas from 2005, Aspect ratio of 1.85 to 1.

Audio, original English LPCM 2.0 dual mono and original English DTS 5.1 surround and alternate English LPCM 2.0 dual mono and Italian LPCM 2.0 dual mono and optional English hard of hearing subtitles.