The exhibition formats that work is now available in vary greatly and there is a lot of discussion about the different characteristics of each format and how they can affect the work. It is increasingly possible and common to show film work (that originated on super8 or 16mm film) on video or digital formats. This page looks at the different formats available and their technical characteristics.

What Format Should You Show

The range of exhibition formats means work is often available in various formats in which it did not originate. For instance a work made on 16mm film would be available on a DVD. Exhibition formats and their technical requirements change rapidly but it is important to think carefully about how which format will be best for the work, the audience and the artists. When looking at what format will be best think about the characteristics of the work and what you feel would serve these the best. Consult with the artists and distributors on their feelings about using different format. Most distributors and artists will have specific guidelines about the formats used to ensure the highest quality presentation.

Both film and video have different aesthetic values and also economic and technical issues that need to be taken into account. Decisions on how work is shown and what format influence all aspects of presenting work from curating to touring to audience reception. Below is a brief guide to the most common exhibition formats and their characteristics.

Standard Exhibition Formats

The growing diversity of exhibition formats is an increasing problem for international compatibility. But various formats have made it more feasible to show work in a wider range of venues. There is a limited range of exhibition formats that are internationally accessible and regularly used.

Film Formats
Standard formats have existed in film since the industrialisation of cinema at the beginning of the twentieth century. There are many variations but the basic formats which relate to the size of the film (given in millimeters) have been consistent thought the last century. Here are the three dominate film formats or 'gauges:'

35mm
This is the standard gauge for cinema exhibition and film production, although its cost makes it generally prohibitive for artists. The projectors are very large and are not generally portable. Portable 35mm projectors exist but are limited.

16mm
This is the standard gauge for artists, film production and exhibition. It is increasingly rare for cinemas to be equipped with 16mm projectors but they are relatively easy to find. It is important that the projectors are serviced and maintained as they can quickly fall into disrepair. 16mm can be shown in galleries as a loop with special equipment. 16mm projectors can be hired from a range of sources.

Super8 / 8mm
Small guage film format – usually transferred to 16mm or video for exhibition. Most venues don’t have 8mm projectors although they are quite easy to find.

Video and Digital Formats
Work that originates and is exhibited on video or digital formats is increasingly dominant and video projection has increased in quality and availability. Video / digital exhibition formats include:

Video (VHS)
This is a standard domestic format. Generally used for previewing work but not for exhibition as it has poor quality sound and image.

MiniDV & DVcam
These two Digital tape formats are widely accessible for production although less common in exhibition. The quality is not that high and it can be an unstable format prone to glitches. DVcam is the more stable of the two and is of higher quality than DVD.

DVD
This is the most common format used in gallery exhibitions due to the wide accessibility of equipment to make DVDs and to play them. The quality is superior to VHS but is dependent on how well the DVD is produced and how compressed the material is. The wide range of players and compression formats results in a range of possible compatibility problems especially when showing work outside the UK.

BetaSP
This is the standard professional exhibition format widely used in all aspects of exhibition. BetaSP is not commonly available in galleries although it is quite common in cinemas.

Digibeta
Together with BetaSP this is the standard professional exhibition format widely used in all aspects of exhibition. Digibeta is slightly higher quality that Beta SP and is not as widely available as it is a more modern format.

HD (High Definition)
This is the latest video format and is the highest quality standardised tape format currently availible. It is rarely used as it is expensive and only selected cinemas have the equipment to play it but its use is increasing rapidly.

For gallery work DVD has become a standard exhibition format for its widespread accessibility and its ability to easily loop work. But DVD is also a notoriously problematic format as it can be unstable for exhibition.

Aspect Ratio

Aspect ratio refers to the ratioo of the projected image. There are many different ratios that are used which came about through the emergence of different technologies (like CinemaScope). Most artists' film is at the standard ratio of 4:3 but occasionally requires different ratios. Aspect ratios can be maintained within the standard 4:3 ration by zooming in on the image and framing the top and bottom with black, this is commonly referred to as 'letter box' format. For wider ratios that 4:3 these are acheived either by used of cropping top and bottom of the image or compressing laterally which will be uncompressed to form a wide image in projection. The most common form of compressed image is the 16:9 ratio which is often referred to as simple widescreen or CinemaScope. This is available on 35mm and 16mm as well as some video formats (where the compressed 16:9 ratio is referred to as “Full Height Anommorphic”), and require an anomorphic lens on the projector to show the work correctly. Be sure to check that you have the correct lenses and equipment needed to cope with any unusual aspect ratios before hiring a film or video to show.