461:
anamorphoses (distorts) the optical field. A cameraman using an anamorphic attachment uses a spherical lens of a different focal length than they would use for
Academy format (i.e. one sufficient to produce an image the full height of the frame and twice its width), and the anamorphic attachment squeezes the image (in the horizontal plane only) to half-width. Other anamorphic attachments existed (that were relatively rarely used) which would expand the image in the vertical dimension (e.g. in the early Technirama system mentioned above), so that (in the case of the common 2-times anamorphic lens) a frame twice as high as it might have been filled the available film area. In either case, since a larger film area recorded the same picture the image quality was improved.
921:: Angenieux's first zoom for 35 mm film camera, the 35–140 mm, was equipped with a front anamorphic attachment built by Franscope. The 40-140 anamorphic was used on several Nouvelle Vague movies such Lola (1961) or Jules and Jim (1962). Panavision adapted the Angenieux 10× zoom for anamorphic productions. The 50-500 APZA was part of the standard anamorphic production package supported by Panavision from mid 1960s to the end of the 1970s. It has been used in numerous movies including The Graduate (1967), MASH (1970), McCabe and Mrs Miller (1971), Death in Venice (1971) and Jaws (1975). In 2013 and 2014 Angenieux released a new series of high end anamorphic zooms. These lenses, the 30-72 and 56-152 Optimo A2S are compact and weigh less than 2.5 kg.
419:) cameras and projectors. The modern anamorphic format has an aspect ratio of 2.39:1, meaning the (projected) picture's width is 2.39 times its height, (this is sometimes approximated to 2.4:1). The older Academy format of Anamorphic widescreen was a response to a shortcoming in the non-anamorphic spherical (a.k.a. "flat") widescreen format. With a non-anamorphic lens, the picture is recorded onto the film negative such that its full width fits within the film's frame, but not its full height. A substantial part of the frame area is thereby wasted, being occupied (on the negative) by a portion of the image which is subsequently matted-out (i.e. masked, either on the print or in the projector) and so not projected, in order to create the widescreen image.
526:
737:, was released in August 1993. It slightly altered the dimensions so as to standardize a common projection aperture width (0.825 inches or 20.96 mm) for all formats, anamorphic (2.39∶1) and flat (1.85∶1). The projection aperture height was also reduced by 0.01 inches (0.25 mm) to give an aperture size of 0.825 × 0.690 inches (20.96 × 17.53 mm), and an aspect ratio of 1.1956…∶1, and thus retaining the un-squeezed ratio of about 2.39∶1. The camera's aperture remained the same (2.35∶1 or 2.55∶1 if before 1958), only the height of the "negative assembly" splices changed and, consequently, the height of the frame changed.
598:
instead, two sets of anamorphic optics: one was a more robust "squeeze" system, which was coupled with a slight expansion sub-system. The expansion sub-system was counter-rotated in relation to the main squeeze system, all in mechanical interlinkage with the focus mechanism of the primary lens: this combination changed the anamorphic ratio and minimized the effect of anamorphic mumps in the area of interest in the frame. Although these techniques were regarded as a fix for anamorphic mumps, they were actually only a compromise. Cinematographers still had to frame scenes carefully to avoid the recognizable side-effects of the change in aspect ratio.
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582:) appearing as vertical ovals rather than circles, as well as an increase in horizontal angle of view, both in proportion to the squeeze factor. A 50mm anamorphic lens with a 2x squeeze will have the horizontal view of a 25mm spherical lens, while maintaining the vertical view and depth of field of a 50mm. This has led to the common claim that anamorphic lenses have shallower focus, as the cinematographer must use a longer lens to obtain the same horizontal coverage.
839:(2006) - These improve upon the C-Series as far as sharpness, contrast, barrel-distortion and close-focus are concerned. This increased optical performance means a higher weight, however (each lens is around 4–5 kg ). There are 14 lenses in this series—from 25 mm to 250 mm. The V-Series also have two macro lenses (65 mm and 120 mm) with a unique focusing mechanism enabling the closest minimum focus of any anamorphic lenses available.
823:, designers and manufacturers of Hawk lenses. The entire Hawk lens system consists of 50 different prime lenses and 5 zoom lenses, all of them specifically developed and optically computed by Vantage Film. Hawk lenses have their anamorphic element in the middle of the lens (not up front like Panavision), which makes them more flare-resistant. This design choice also means that if they do flare, one does not get the typical horizontal flares.
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927:(JDC): A manufacturer and rental house based in Britain and North Carolina, which adapts spherical lenses to anamorphic by adding a cylindrical element. JDC was purchased by Panavision in 2007. Much of JDC's former lens inventory has since been scattered among various rental houses and private owners, though a new company called Dunton Cine has re-acquired a large portion of it.
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793:(1980s) - Made with Nikon glass, these are sharper than the C-Series and are better color-matched. They are also faster, but the minimum focus-distance of the shorter focal lengths is not as close. The E135mm, and especially the E180mm, are great close-up lenses with the closest minimum focus of any long Panavision anamorphic lenses.
614:. (In Super 35, the film is shot flat, then matted, and optically printed as an anamorphic release print.) This was largely attributed to the artifacts, distortions, light requirements, and expenses (in comparison to its spherical counterpart), in the face of the rising use of digital visual effects. Moreover, with the advent of the
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721:. It specified a slightly smaller vertical dimension of 0.700 inches (17.78 mm) for the projector aperture (and a nearly identical horizontal dimension of 0.838 inches (21.29 mm)), to help make splices less noticeable to film viewers. After unsqueezing, this would yield an aspect ratio of c. 2.397∶1.
933:(pronounced "Crystal Express") - This was JDC's most popular line of lenses. Three series were built by Shiga Optical Co. in Japan, from old Cooke S2/S3 and Panchro lenses, Canon lenses, and Zeiss lenses, respectively. The series overall encompassed a very wide range of focal lengths, from 18 mm up to 400 mm.
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anamorphic prints use more of the negative's available frame area than any other modern format, which leaves little room for splices. As a consequence, a bright line flashed onscreen when a splice was projected, and theater projectionists had been narrowing the vertical aperture to hide these flashes
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With the rise of digital cinematography, anamorphic photography has experienced something of a renaissance, as the higher light sensitivity (ISO) of digital sensors has lowered the lighting requirements that anamorphic lenses once demanded. Many vintage lens series, some of which saw little to no use
590:, hence the name for the phenomenon. Conversely, at the edges of the screen actors in full-length view can become skinny-looking. In medium shots, if the actor walks across the screen from one side to the other, he will increase in apparent girth. Early CinemaScope presentations in particular (using
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A third characteristic, particularly of simple anamorphic add-on attachments, is "anamorphic mumps". For reasons of practical optics, the anamorphic squeeze is not uniform across the image field in any anamorphic system (whether cylindrical, prismatic or mirror-based). This variation results in some
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that has a long horizontal line, usually with a blue tint, and is most often visible when there is a bright light in the frame, such as from car headlights, in an otherwise dark scene. This artifact is not always considered a problem, and even has become associated with a certain cinematic look, and
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is a phrase contractually required for films shot using
Panavision's anamorphic lenses. All of these phrases mean the same thing: the final print uses a 2:1 anamorphic projector lens that expands the image by exactly twice the amount horizontally as vertically. This format is essentially the same as
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It may seem that it would be easier to simply use a wider film for recording movies. However, since 35 mm film was already in widespread use, it was more economically feasible for film producers and exhibitors to simply attach a special lens to the camera and projector, rather than invest in an
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To increase overall image detail, by using all the available area of the negative for only that portion of the image which will be projected, an anamorphic lens is used during photography to compress the image horizontally, thereby filling the full (4 perf) frame's area with the portion of the image
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An anamorphic lens consists of a regular spherical lens, plus an anamorphic attachment (or an integrated lens element) that does the anamorphosing. The anamorphic element operates at infinite focal length, so that it has little or no effect on the focus of the primary lens it's mounted on but still
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manufactured the Todd-AO 35 series of lenses in the 1970s. Designed by optical engineer
Richard Vetter, these lenses were the first outside of Panavision to maintain a constant 2X squeeze across the entire focus range. They are known for having especially intense lens flares. The majority of these
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Panavision used a second lens (i.e. an add-on adapter) which was mechanically linked to the focus position of the primary lens. This changed the anamorphic ratio as the focus changed, resulting in the area of interest on-screen having a normal-looking geometry. Later cylindrical lens systems used,
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technology, the anamorphosing process can now be completed as a digital step with no degradation of image quality. Also, 3-perf and 2-perf pose minor problems for visual effects work. The area of the film in 4-perf work that is cropped out in the anamorphosing process nonetheless contains picture
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Although many films projected anamorphically have been shot using anamorphic lenses, there are often aesthetic and technical reasons that make shooting with spherical lenses preferable. If the director and cinematographer still wish to retain the 2.40:1 aspect ratio, anamorphic prints can be made
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Anamorphic prints are still often called 'Scope' or 2.35 by projectionists, cinematographers, and others working in the field, if only by force of habit. 2.39 is in fact what they generally are referring to (unless discussing films using the process between 1958 and 1970), which is itself usually
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was issued in
December 1957. It standardized the projector aperture at 0.839 × 0.715 inches (21.31 × 18.16 mm), which gives an aspect ratio of c. 1.17∶1. The aspect ratio for this aperture, after a 2× unsqueeze, is 2.3468…∶1 (1678:715), which rounded to the commonly used
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would lead to a 2.75∶1 aspect ratio when used with anamorphic lenses. Due to differences in the camera gate aperture and projection aperture mask sizes for anamorphic films, however, the image dimensions used for anamorphic film vary from flat (spherical) counterparts. To complicate matters, the
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problems. Nonetheless, the format was popular enough with audiences to trigger off the widescreen developments of the early 1950s. A few films were distributed in
Cinerama format and shown in special theaters, but anamorphic widescreen was more attractive to the Studios since it could realize a
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was an earlier attempt to solve the problem of high-quality widescreen imaging, but anamorphic widescreen eventually proved more practical. Cinerama (which had an aspect ratio of 2.59:1) consisted of three simultaneously projected images side by side on the same screen. However, in practice the
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also developed their
Anamorphic/i lens line, providing T2.3 aperture and color-matched with other Cooke lens lines, which is marketed as their "Cooke Look" feature. Like Zeiss, it's a totally new lens design which is different from third-party modified Cooke-based anamorphics such as JDC and
781:(1970s) - These are small and lightweight, which makes them very popular for steadicams. The 20 mm C-Series is Panavision's widest anamorphic lens, of which only two were ever made. The C-series remain popular among cinematographers for the broad pedigree of popular films they have captured.
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Figure 2. Shooting with an anamorphic lens stretches the image vertically to cover the entire film frame, resulting in a higher resolution but distorted image. When projecting the film, a reverse, complementary lens (of the same anamorphic power) shrinks the image vertically to the original
787:(D-series) (1976) - Made with Nikon glass, these are the fastest anamorphic lenses available, with T-stops between 1.4 and 1.8; there is even one T1.1 50 mm, but, like all anamorphic lenses, they must be stopped-down for good performance because they are quite softly focused when wide open.
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became less of a concern with Super 35, as the optical intermediate/enlargement process could now be bypassed, eliminating two generations of potential quality loss (though an anamorphic negative, due to its size, still retained a higher definition widescreen image for mastering).
799:(F-series) (1989) - These are engineered with maximum aperture and optical quality in mind across all focal lengths, and as such are quite large and heavy by comparison to other series. They are the sharpest Panavision anamorphic lenses available, and are completely color-matched.
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developed their Master
Anamorphic lens line, debuted in September 2012, to provide minimum distortion and faster aperture at T1.9. These are spherical lenses with the anamorphic element at the rear, as opposed to third-party modified Zeiss-based anamorphics such as JDC and
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rounded up to 2.40 (implying a false precision as compared to 2.4). With the exception of certain specialist and archivist areas, generally 2.35, 2.39 and 2.40 mean the same to professionals, whether they themselves are even aware of the changes or not.
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The distortion (horizontal compression) introduced in the camera must be corrected when the film is projected, so another lens is used in the projection booth that restores the picture back to its correct proportions (or, in the case of the now obsolete
811:(2016), Panavision's latest anamorphic lens series, designed for digital cameras initially, but also film camera compatible through specific re-engineering at Panavision. They are named for, and bear the signature of, Panavision's first lens engineer
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to provide a wide angle viewer for military tanks. The optical process was called
Hypergonar by Chrétien and was capable of showing a field of view of 180 degrees. After the war, the technology was first used in a cinematic context in the short film
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information that is useful for such visual effects tasks as 2D and 3D tracking. This mildly complicates certain visual effects efforts for productions using 3-perf and 2-perf, making anamorphic prints struck digitally from center cropped 4-perf
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for decades, have been sought by cinematographers wishing to add a more classic, film-like quality to digital cinematography; and manufacturers such as
Panavision and Vantage have produced modern lenses using vintage glass for this purpose.
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with the advent of digital intermediates; however, in the years since digital cinema cameras and projectors have become commonplace, anamorphic has experienced a considerable resurgence of popularity, due in large part to the higher base
947:, manufactured by JSC Optica-Elite Company in St. Petersburg, Russia and sold in the United States by Slow Motion Inc. They are similar in quality to Hawk lenses, and are known for their sharpness and contrast at wide apertures.
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standards for the format have varied over time; to further complicate things, pre-1957 prints took up the optical soundtrack space of the print (instead having magnetic sound on the sides), which made for a 2.55∶1 ratio
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that of CinemaScope, except for some technical developments, such as the ability to shoot closeups without any facial distortion. (CinemaScope films seldom used full facial closeups, because of a condition known as
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filter in scenes shot with a non-anamorphic lens. Another common aspect of anamorphic lenses is that light reflections within the lens are elliptical, rather than round as in ordinary cinematography. Additionally,
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4-perf negative causes considerable waste of frame space, and since the cropping and anamorphosing of a spherical print requires an intermediate lab step, it is often attractive for these films to use a different
905:- 2x anamorphic lenses for film and digital use, which cover the Super 35 mm format. The lineup currently consists of 12 lenses, ranging from 18 mm to 200 mm. They are designed to emulate Panavision's C-series.
845:- 8 very small anamorphic lenses (about the size of a Cooke S4 spherical lens), which are ideal for handheld and Steadicam while also giving an optical performance comparable to the V-Series and V-Plus lenses.
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projects a horizontally squeezed image on the film negative. This deliberate geometric distortion is then reversed on projection, resulting in a wider aspect ratio on-screen than that of the negative's frame.
298:. It also refers to the projection format in which a distorted image is "stretched" by an anamorphic projection lens to recreate the original aspect ratio on the viewing screen (not to be confused with
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in height, three cameras (eventually simplified to just one camera with three lenses and three streaming reels of film and the attendant machinery), and three projectors, which resulted in a host of
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are also sets of fast anamorphic lenses for Full Frame sensors. With a 1.6x squeeze factor, these lenses give you a 2.8:1 aspect on a 16:9 capture area, and a 2.4:1 on a 3:2 capture area.
1073:, (also called Century Optics) are makers of anamorphic projection lenses. The company also manufactures add-on anamorphic adaptor lenses that can be mounted on digital video cameras.
1326:, Frank George Gunn, "Photographic production of anamorphous records", published 24 October 1955, issued 19 January 1965, assigned to Technicolor Corp of America
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Another characteristic of anamorphic lenses is that the cylindrical glass effectively creates two focal lengths within the lens. This results in out-of-focus points of light (called
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even before 1971. This new projector aperture size, 0.838 × 0.700 inches (21.29 × 17.78 mm), aspect ratio 1.1971…∶1, made for an un-squeezed ratio of about
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that corresponds to the area projected in the non-anamorphic format. Up to the early 1960s, three major methods of anamorphosing the image were used: counter-rotated prisms (e.g.
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creates fast and large squeeze anamorphic lenses built for proper cinema, with the lenses coming in PL and Canon EF mounts, along with many hobbyist mounts such as Canon RF and
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areas of the film image appearing more stretched than others. In the case of an actor's face, when positioned in the center of the screen faces look somewhat like they have the
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widescreen technique. CinemaScope was one of many widescreen formats developed in the 1950s to compete with the popularity of television and bring audiences back to the cinema.
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builds specifically budget anamorphic hobbyist and cinema lenses. They build lenses made for all types of camera mounting systems, including those from Sony, Canon, and Nikon.
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system, squeezes the image vertically) to restore normal geometry. The picture is not manipulated in any way in the dimension that is perpendicular to the one anamorphosed.
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The company also produces lots of hobbyist lenses, such as the 50mm F1.8 1.33x APS-C Anamorphic Lens with a 1.33x squeeze factor. The hobbyist lenses are not measured in
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851:- Similar to the V-series, but incorporating vintage uncoated glass from a spherical lens set built in 1974. These lenses have a softer quality and enhanced flares.
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images never blended together perfectly at the edges. The system also suffered from various technical drawbacks, in that it required a film frame that was
967:
702:
911:- 1.5x anamorphic lenses for use with full-frame (VistaVision) sized sensors. The lineup currently consists of 6 lenses, ranging from 36 mm to 138 mm.
1345:, Henri Chrétien, "Taking and projection of motion pictures and films therefor", published 28 January 1929, issued 27 October 1931
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is the most common source of anamorphic lenses, with lens series ranging from 20 mm to a 2,000 mm anamorphic telescope. These include:
656:, which mimics the natural behavior of an anamorphic lens through simulated depth of field effects and a faux-film grain applied to the footage.
676:. Since the anamorphic lenses in virtually all 35 mm anamorphic systems provide a 2:1 squeeze, one would logically conclude that a 1.375∶1
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There are numerous companies that are known for manufacturing anamorphic lenses. The following are the most well known in the film industry:
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Michael
Svanevik and Shirley Burgett, "Menlo’s Mild-Mannered Film Wizard: Motion Picture Inventor Leon Douglass Deserves Historical Niche",
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that maximized overall image detail (compared to other widescreen formats, not compared to fullscreen) while retaining the use of standard (
1307:, Walter Wallin, "Anamorphosing system", published 11 August 1954, issued 16 June 1959, assigned to Panavision Inc.
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off-the-shelf lenses) suffered from this. Panavision was the first company to produce an anti-mumps system in the late 1950s.
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that can occur when using an anamorphic camera lens that do not occur when using an ordinary spherical lens. One is a kind of
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is a manufacturer of hybrid cylindrical / prism based projection lenses specialized for the consumer home theater industry.
439:(lenses curved, hence squeezing the image being photographed, in only one direction, as with a cylinder, e.g. the original
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775:(1968) - Panavision's second series of anamorphic lenses, these were restored and brought back into commission in 2013.
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motion picture cameras. However, how this relates to the earlier French invention, and later development, is unclear.
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977:) with British and French offices, has adapted and rehoused spherical Cooke, Zeiss and Leitz lenses to anamorphics.
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Technovision. Cooke also developed its Anamorphic/i Full Frame Plus in 1.8× squeeze ratio for full frame cameras.
867:(2008) - Lenses for 16 mm anamorphic production, in both 1.3x (for Super 16 mm) and 2x (for standard 16 mm).
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In the late 1990s and 2000s, anamorphic lost popularity in comparison to "flat" (or "spherical") formats such as
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sizes sensors. The lenses are built to cinema expectations and have 1.8x squeeze factors on both Micro 4/3 and
68:
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One common misconception about the anamorphic format concerns the actual width number of the aspect ratio, as
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857:(2008) - The V-Lite series with a 1.3x squeeze factor, enabling the use of nearly the entire image area of
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The anamorphic widescreen format in use today is commonly called 'Scope' (a contraction of the early term
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805:(2007) - These combine the optical quality of the Primo lenses with the size and weight of the C-Series.
403:, which premiered in 1953, was the first feature film released that was filmed with an anamorphic lens.
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entirely new film format, which would require new cameras, projectors, editing equipment and so forth.
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are sets of anamorphic lenses for Full Frame, developed for many different consumer mounting types.
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1440:"Smpte Standard: for Motion-Picture Film (35-mm) — Motion-Picture Prints — Projectable Image Area"
899:: Manufacturer of lower-cost anamorphic prime lenses. They currently produce two lines of lenses:
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35 mm film or the sensor area of a 16:9 digital camera to provide the 2.39:1 release format.
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302:, a different video encoding concept that uses similar principles but different means). The word
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Henryk Chroscicki was born in 1919 in Poland....Harald Buggenig studied economics in Vienna.
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1374:""We Keep Pushing": Joel Aron on Elevating the Look of Star Wars: The Bad Batch"
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definition for anamorphic projection with an optical sound track down the side
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Figure 1. Shooting without an anamorphic lens, in widescreen picture format on
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Anamorphic 4-perf camera aperture is slightly larger than projection aperture.
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Anamorphic widescreen was not used again for cinematography until 1952 when
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and others. TechnoVision France was purchased by Panavision Europe in 2004.
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Beginning in the 1990s, anamorphic began to lose popularity in favor of
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The introduction of anamorphic widescreen arose from a desire for wider
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the popular choice in large budget visual effects driven productions.
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of digital sensors, which facilitates shooting at smaller apertures.
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film; some of the upper and lower film surface area is wasted on the
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from spherical negatives. Because the 2.40:1 image cropped from an
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1494:"Panavision to Acquire Camera Assets of Joe Dunton & Company"
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2-perf) usually in conjunction with the added negative space
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or other visual recording media with a non-widescreen native
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1706:(Summer, 1994). Society of Camera Operators. Archived from
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1617:"Panavision Purchases TechnoVision France" (press release).
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517:, which distorted faces as they got closer to the camera.)
555:, which some directors and cinematographers, particularly
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Technique for recording widescreen images onto a 4:3 frame
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is a manufacturer of theatrical cinema projection lenses.
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Emulation of anamorphic film has also been achieved in
427:), curved mirrors in combination with the principle of
30:"Anamorphic" redirects here. For the video format, see
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The process of anamorphosing optics was developed by
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Panavision.com. 2004-08-16. Retrieved on 2007-01-19.
1517:. find-and-update.company-information.service.gov.uk
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In the 1920s, phonograph and motion picture pioneer
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71:. Unsourced material may be challenged and removed.
447:design). Regardless of the method, the anamorphic
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815:, and are based on many of his lens design ideas.
393:bought the rights to the technique to create its
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529:Example of blue-line horizontal anamorphic flare
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1662:"SIRUI 50mm F1.8 1.33x APS-C | Anamorphic Lens"
1102:method (most commonly 3-perf, but occasionally
551:of less than 40 mm focal length produce a
1500:. August 15, 2007. Retrieved February 1, 2013.
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634:), as seen from the front, appears as an oval.
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646:. One example of this is the animated series
1515:Find and update company information - GOV.UK
570:, as simulated by this stitched panorama of
1281:Meridian. 1987. "Anamorphic lens" pp. 11-12
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566:Many wide-angle anamorphic lenses render a
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131:Learn how and when to remove this message
1538:"Technovision 1.5x Anamorphic LF by P+S"
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939:- These are modified Zeiss Super Speeds.
717:A new definition issued in June 1971 as
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308:and its derivatives stem from the Greek
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1480:Hart, Martin.(2000). Widescreen museum
1187:"Anamorphosis – Definition and meaning"
956:lenses are held today by Keslow Camera.
14:
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993:, a German company that developed the
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1400:"Standards and Recommended Practices"
1372:Seastrom, Lucas (February 24, 2023).
751:List of anamorphic format trade names
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745:Lens makers and corporate trademarks
69:adding citations to reliable sources
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1637:"SIRUI® | The Best Anamorphic lens"
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367:story of the same name) in 1927 by
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2117:Audiovisual introductions in 1953
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502:
1691:"Of Apertures and Aspect Ratios"
1536:Fauer, Jon (December 18, 2018).
1482:"Of Apertures and Aspect Ratios"
559:, use as a stylistic trademark.
320:("form, shape") with the prefix
262:
240:
45:
1654:
1629:
1610:
1487:
1432:
1392:
1365:
659:
56:needs additional citations for
1450:(8): 743–745. March 22, 1993.
1410:(10): 835–844. June 16, 1971.
1354:
1335:
1316:
1297:
1284:
1245:"Origin and meaning of prefix
1237:
1214:"Origin and meaning of prefix
1206:
1179:
1113:However, with advancements in
758:
630:The aperture of the lens (the
406:
13:
1:
1361:Why is anamorphic bokeh oval?
1172:
1050:
601:
1511:"TechnoVision UK LTD people"
1279:The Complete Film Dictionary
549:wide-angle anamorphic lenses
455:
323:
311:
7:
2112:Motion picture film formats
1700:"The Widescreen Revolution"
1254:Online Etymology Dictionary
1223:Online Etymology Dictionary
1125:
966:, an Italian manufacturer (
10:
2133:
1192:Collins English Dictionary
1081:
748:
733:The most recent revision,
572:Cavendish House, Leicester
343:
29:
2107:Film and video technology
2008:
1973:
1934:
1891:
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1823:
1761:
1380:. The Walt Disney Company
476:
429:total internal reflection
190:
175:
165:
157:
148:
36:Anamorph (disambiguation)
1078:Super 35 and Techniscope
1030:for hobbyist simplicity.
925:Joe Dunton & Company
649:Star Wars: The Bad Batch
286:technique of shooting a
1593:"Cameras: TechnoVision"
1484:Retrieved July 8, 2006.
568:cylindrical perspective
553:cylindrical perspective
542:often emulated using a
521:Optical characteristics
1567:"Lenses: TechnoVision"
1542:Film and Digital Times
1294:(July 5, 2008) pp. 6-7
698:
635:
575:
530:
34:. For other uses, see
2024:Anamorphic widescreen
1343:US Grant 1829634A
1324:US Grant 3165969A
1305:US Grant 2890622A
1057:ISCO Precision Optics
696:
629:
565:
528:
391:Twentieth Century-Fox
300:anamorphic widescreen
218:ISCO Precision Optics
32:Anamorphic widescreen
1710:on December 27, 2008
1693:. Widescreen Museum.
1666:SIRUI®Official Store
1641:SIRUI®Official Store
1404:Journal of the SMPTE
1292:Palo Alto Daily News
1157:List of film formats
1115:digital intermediate
616:digital intermediate
290:picture on standard
224:Joe Dunton & Co.
65:improve this article
2097:American inventions
1916:Super Panavision 70
1908:Ultra Panavision 70
1704:Operating Cameraman
1070:Schneider Kreuznach
654:Lucasfilm Animation
363:(based on the 1908
215:Schneider Kreuznach
145:
80:"Anamorphic format"
1622:2006-10-22 at the
897:Atlas Lens Company
719:ANSI PH22.106-1971
707:ANSI PH22.106-1957
699:
688:ANSI PH22.104-1957
644:computer animation
636:
576:
531:
505:" section below).
437:cylindrical lenses
369:Claude Autant-Lara
328:("back, again").
230:Atlas Lens Company
161:Optical technology
143:
2102:French inventions
2084:
2083:
2075:Shoot and protect
1999:Anamorphic format
1969:
1968:
1865:Modern anamorphic
1277:Konigsberg, Ira.
1167:21:9 aspect ratio
1100:negative pulldown
968:Henryk Chroscicki
813:Takuo Miyagishima
678:full academy gate
515:CinemaScope mumps
280:Anamorphic format
234:
233:
195:Bausch & Lomb
141:
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115:
16:(Redirected from
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1591:LaViola, James.
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1470:on May 25, 2021.
1466:. Archived from
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979:Vittorio Storaro
976:
785:Super High Speed
445:Henri Chrétien's
443:system based on
425:Ultra Panavision
417:4 perf per frame
376:Leon F. Douglass
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382:and anamorphic
380:special effects
360:To Build a Fire
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338:ISO sensitivity
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981:used them for
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735:SMPTE 195-1993
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632:entrance pupil
618:in the 2000s,
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544:special effect
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350:Henri Chrétien
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2009:Video framing
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1005:Sirui Imaging
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964:TechnoVision
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884:Technovision.
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874:Carl Zeiss AG
871:
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837:V-Plus Series
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81:
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76:Find sources:
70:
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60:
59:
54:This article
52:
48:
43:
42:
37:
33:
19:
2052:Pan and scan
1998:
1975:Aspect ratio
1961: (1958)
1953: (1958)
1951:Kinopanorama
1945: (1952)
1926: (1970)
1902: (1955)
1883: (1982)
1875: (1960)
1867: (1957)
1864:
1851: (1954)
1843: (1953)
1825:Film formats
1793:17.5 mm
1755:film formats
1712:. Retrieved
1708:the original
1703:
1669:. Retrieved
1665:
1656:
1644:. Retrieved
1640:
1631:
1612:
1600:. Retrieved
1596:
1586:
1574:. Retrieved
1570:
1560:
1552:
1545:. Retrieved
1541:
1531:
1519:. Retrieved
1514:
1505:
1489:
1476:
1468:the original
1447:
1443:
1434:
1407:
1403:
1394:
1384:February 24,
1382:. Retrieved
1378:starwars.com
1377:
1367:
1356:
1337:
1318:
1299:
1291:
1286:
1278:
1258:. Retrieved
1252:
1246:
1239:
1227:. Retrieved
1221:
1215:
1208:
1196:. Retrieved
1190:
1181:
1162:Pan and scan
1142:Aspect ratio
1137:Anamorphosis
1112:
1091:
1068:
1062:
1056:
1035:
1017:Venus Series
1016:
1010:
1004:
988:
963:
959:
950:
945:Elite Optics
944:
936:
930:
924:
916:
908:
903:Orion Series
902:
896:
889:Cooke Optics
887:
878:
872:
864:
854:
848:
842:
836:
832:
826:
821:Vantage Film
820:
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701:The initial
700:
687:
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669:
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608:flat formats
607:
605:
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584:
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557:Wes Anderson
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503:Aspect ratio
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317:
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296:aspect ratio
279:
278:
276:
270:proportions.
226:Vantage Film
222:Technovision
207:Cooke Optics
191:Manufacturer
127:
118:
108:
101:
94:
87:
75:
63:Please help
58:verification
55:
1959:Cinemiracle
1873:Techniscope
1849:VistaVision
1841:CinemaScope
1779:9.5 mm
1763:Film gauges
1597:ShotOnWhat?
1571:ShotOnWhat?
1498:PR Newswire
1104:Techniscope
1088:Techniscope
1026:but rather
990:Isco Optics
971: [
855:V-Lite 1.3×
835:(2001) and
759:Origination
499:CinemaScope
441:CinemaScope
407:Development
395:CinemaScope
365:Jack London
354:World War I
253:frame lines
2091:Categories
2068:Open matte
2059:Fullscreen
2017:Widescreen
1857:Technirama
1814:70 mm
1807:35 mm
1800:28 mm
1786:16 mm
1602:August 29,
1576:August 29,
1547:August 29,
1521:August 29,
1173:References
1051:Projection
1044:Full Frame
931:Xtal Xpres
849:Vintage 74
766:Panavision
749:See also:
620:film grain
602:Recent use
592:Chrétien's
539:lens flare
533:There are
509:Panavision
507:Filmed in
467:Technirama
433:Technirama
384:widescreen
312:anamorphoo
305:anamorphic
292:35 mm film
288:widescreen
199:Panavision
91:newspapers
18:Anamorphic
2045:Windowbox
2038:Pillarbox
2031:Letterbox
1977:standards
1935:35 mm × 3
1772:8 mm
1464:0036-1682
1426:0361-4573
1152:Letterbox
1132:Arriscope
1110:affords.
1063:Panamorph
1040:Micro 4/3
997:line for
995:Arriscope
937:Speedstar
918:Angenieux
865:V-Lite 16
730:(43:18).
723:Four-perf
610:, mainly
535:artifacts
456:Equipment
176:Inception
1943:Cinerama
1881:Super 35
1671:June 28,
1646:June 28,
1620:Archived
1147:Cine 160
1126:See also
1120:Super 35
1108:Super 35
1084:Super 35
1001:in 1989.
833:V-Series
827:C-Series
809:T-Series
803:G-Series
791:E-Series
779:C-Series
773:B-Series
612:Super 35
482:Cinerama
400:The Robe
333:Super 35
183:ca. 1915
179:ca. 1915
166:Inventor
121:May 2023
1900:Todd-AO
1714:July 6,
1216:morpho-
1028:F-stops
1024:T-stops
952:Todd-AO
435:), and
352:during
344:History
282:is the
203:Todd-AO
181: (
105:scholar
1918:(1959)
1910:(1957)
1859:(1956)
1462:
1424:
1349:
1330:
1311:
1260:May 9,
1229:May 9,
1198:May 9,
859:3-perf
843:V-Lite
728:2.39∶1
712:2.35∶1
710:value
487:6 perf
477:Naming
431:(e.g.
318:morphé
249:4-perf
107:
100:
93:
86:
78:
1892:70 mm
1833:35 mm
975:]
797:Primo
703:SMPTE
683:SMPTE
588:mumps
580:bokeh
112:JSTOR
98:books
1992:14:9
1924:IMAX
1716:2013
1673:2024
1648:2024
1604:2024
1578:2024
1549:2024
1523:2024
1460:ISSN
1422:ISSN
1386:2023
1262:2020
1247:ana-
1231:2020
1200:2020
1086:and
999:Arri
880:ARRI
877:and
674:2.40
670:2.39
666:2.35
449:lens
220:Kowa
158:Type
84:news
1452:doi
1448:102
1412:doi
690:).
672:or
652:by
324:aná
67:by
2093::
1702:.
1664:.
1639:.
1595:.
1569:.
1551:.
1540:.
1513:.
1496:.
1458:.
1446:.
1442:.
1420:.
1408:80
1406:.
1402:.
1376:.
1270:^
1251:.
1220:.
1189:.
973:it
714:.
668:,
371:.
1746:e
1739:t
1732:v
1718:.
1675:.
1650:.
1606:.
1580:.
1525:.
1454::
1428:.
1414::
1388:.
1264:.
1249:"
1233:.
1218:"
1202:.
1046:.
686:(
255:.
185:)
134:)
128:(
123:)
119:(
109:·
102:·
95:·
88:·
61:.
38:.
20:)
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