Roland Emmerich set his American reimagining in the vertical landscape of . Because of this, the open matte version alters how viewers experience the movie's geography and scale:
Utilizing a Super 35 film format or open camera shutter to expose the top and bottom areas of the film frame that were hidden in theaters. Technical Profile of the Open Matte Version
When shooting, many filmmakers use cameras that capture a 4:3 or 16:9 full-sensor image. During production, the top and bottom of this image are cropped, or "matted," to fit the theatrical aspect ratio.
How does a 2.39:1 blockbuster end up in a full-frame, Open Matte format? The answer lies in the DVD era of the late 1990s and early 2000s. Godzilla 1998 Open Matte
, "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?
: 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)
: Some visual effects shots were only fully rendered for the 2.39:1 theatrical safety zone. In open matte, you can occasionally spot the exact edge where digital green screens or unfinished CGI elements stop rendering. Roland Emmerich set his American reimagining in the
When discussing home video releases and alternate aspect ratios, the 1998 film Godzilla —directed by Roland Emmerich and starring Matthew Broderick—holds a unique place. While the film is widely available in its theatrical widescreen format, a specific version exists that offers a radically different viewing experience.
The theatrical widescreen crop emphasizes the film’s chase sequences and urban destruction as a horizontal event. Godzilla becomes a long, serpentine object moving across the horizontal axis—fitting the film’s Jurassic Park -inspired chase logic. In contrast, the Open Matte version reveals approximately 35-40% more vertical information. In shots of Godzilla navigating Madison Square Garden or the Chrysler Building, the creature’s full height is visible without tilting the camera. This restores the sublime quality of kaiju cinema: the monster as a vertical obstruction rather than a lateral threat.
Naomi turned to Lina. “You think we changed anything?” she asked. During production, the top and bottom of this
When comparing the two versions, several scenes stand out as improved by the Open Matte presentation:
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.
Godzilla (1998) was produced at the apex of the transition from analog film to early computer-generated imagery (CGI). This historical detail creates specific visual artifacts in open matte: