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These digital times are exciting times, but also weird times. On the one hand cinemas are better equipped than ever, people are queuing to get a wall sized (anyone having read 1984?) flat screens (Sony has just announced an OLED screen with a contrast ratio of 1.000.000:1 [sic!]) with surround sound. And on the other hand you get video-to-go on an iPod nano or youTube. One has a resolution of about a gazillion pixels and fills a substantial part of your field of vision. The other other one has less pixels than the early digital cameras and often the weirdest screen formats.
The latter is perfect for watching cats on a skateboard, but for a cinematic experience, you need a big screen. Listen to what David Lynch has to say:
And for us cameramen it poses the extra difficulty of having to frame for multi-use. Which means you have to compromise. Which again means you minimize the impact on the big screen, because you have to protect your content for delivery on the small screen. My plea to producers: if you want to use your program on different screens, please budget for that by allowing the camera crew to shoot multiple takes for each delivery format. (You’ll end up with a more salable product, too. Now that is pareto optimal 
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