Anamorphic format - Knowledge (XXG)

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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. 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.

526: 242: 264: 151: 694: 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. 563: 47: 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. 627: 1328: 1347: 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 1309: 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. 725:

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 585:

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. 269:

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. 622:

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. 883:

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 356:

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. 685:

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. 451:

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 489:

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 578:

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

1619: 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. 485:

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

2116: 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 769:

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 1744: 755:

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 (

2111: 1307:, Walter Wallin, "Anamorphosing system", published 11 August 1954, issued 16 June 1959, assigned to Panavision Inc. 2106: 64: 130: 1699: 1373: 111: 594:

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.

525: 439:(lenses curved, hence squeezing the image being photographed, in only one direction, as with a cylinder, e.g. the original 1616: 1439: 90: 2096: 241: 1510: 775:(1968) - Panavision's second series of anamorphic lenses, these were restored and brought back into commission in 2013. 1253: 1222: 386:

motion picture cameras. However, how this relates to the earlier French invention, and later development, is unclear.

977:) with British and French offices, has adapted and rehoused spherical Cooke, Zeiss and Leitz lenses to anamorphics. 263: 150: 2101: 1737: 1191: 571: 97: 57: 2058: 893:

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). 428: 331:

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

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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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The anamorphic widescreen format in use today is commonly called 'Scope' (a contraction of the early term

1661: 2023: 1730: 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. 390: 299: 31: 967: 473:

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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35 mm film or the sensor area of a 16:9 digital camera to provide the 2.39:1 release format.

643: 368: 302:, a different video encoding concept that uses similar principles but different means). The word 693: 104: 2074: 1459: 1421: 1166: 1099: 858: 812: 722: 591: 486: 448: 444: 416: 349: 248: 169: 1806: 1690: 1553:

Henryk Chroscicki was born in 1919 in Poland....Harald Buggenig studied economics in Vienna.

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similar aspect ratio and without the disadvantages of Cinerama's complexities and costs.

1707: 982: 631: 543: 283: 1592: 2090: 1984: 1094: 873: 677: 375: 210: 1566: 2051: 1950: 1161: 1136: 888: 556: 304: 206: 1342: 1323: 1304: 917: 1958: 1872: 1848: 1840: 1792: 1778: 1754: 1497: 1374:""We Keep Pushing": Joel Aron on Elevating the Look of Star Wars: The Bad Batch" 1103: 1087: 440: 394: 364: 353: 46: 1467: 705:

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.

1213: 1942: 1880: 1146: 1119: 1107: 1083: 1027: 989: 829:- developed in the mid-1990s, these are relatively small and lightweight. 611: 481: 332: 606:

Beginning in the 1990s, anamorphic began to lose popularity in favor of

574:. Contrast the straight vertical plane with the curved horizontal plane. 411:

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

692: 682: 625: 587: 579: 561: 524: 501:), or 2.35:1 (the latter being a misnomer born of old habit; see " 1494:"Panavision to Acquire Camera Assets of Joe Dunton & Company" 1991: 1923: 998: 879: 1726: 316:("to transform", or more precisely "to re-form"), compound of 40: 1106:

2-perf) usually in conjunction with the added negative space

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or other visual recording media with a non-widescreen native

1706:(Summer, 1994). Society of Camera Operators. Archived from 1636: 1617:"Panavision Purchases TechnoVision France" (press release). 517:, which distorted faces as they got closer to the camera.) 555:, which some directors and cinematographers, particularly 27:

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 348:

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 374:

In the 1920s, phonograph and motion picture pioneer

2008: 1973: 1934: 1891: 1832: 1823: 1761: 190: 175: 165: 157: 71:. Unsourced material may be challenged and removed. 447:design). Regardless of the method, the anamorphic 815:, and are based on many of his lens design ideas. 393:bought the rights to the technique to create its 1273: 1271: 529:Example of blue-line horizontal anamorphic flare 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. 634:), as seen from the front, appears as an oval. 1738: 646:. One example of this is the animated series 8: 1515:Find and update company information - GOV.UK 570:, as simulated by this stitched panorama of 143: 1281:Meridian. 1987. "Anamorphic lens" pp. 11-12 566:Many wide-angle anamorphic lenses render a 1829: 1745: 1731: 1723: 149: 142: 1415: 131:Learn how and when to remove this message 1538:"Technovision 1.5x Anamorphic LF by P+S" 939:- These are modified Zeiss Super Speeds. 717:A new definition issued in June 1971 as 308:and its derivatives stem from the Greek 1480:Hart, Martin.(2000). Widescreen museum 1187:"Anamorphosis – Definition and meaning" 1178: 956:lenses are held today by Keslow Camera. 993:, a German company that developed the 1400:"Standards and Recommended Practices" 1372:Seastrom, Lucas (February 24, 2023). 751:List of anamorphic format trade names 7: 745:Lens makers and corporate trademarks 69:adding citations to reliable sources 1637:"SIRUI® | The Best Anamorphic lens" 367:story of the same name) in 1927 by 25: 2117:Audiovisual introductions in 1953 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: 56:needs additional citations for 1450:(8): 743–745. March 22, 1993. 1410:(10): 835–844. June 16, 1971. 1245:"Origin and meaning of prefix 1214:"Origin and meaning of prefix 1113:However, with advancements in 630:The aperture of the lens (the 1: 1361:Why is anamorphic bokeh oval? 1511:"TechnoVision UK LTD people" 1279:The Complete Film Dictionary 549:wide-angle anamorphic lenses 323: 311: 2112:Motion picture film formats 1700:"The Widescreen Revolution" 1254:Online Etymology Dictionary 1223:Online Etymology Dictionary 966:, an Italian manufacturer ( 2133: 1192:Collins English Dictionary 1081: 748: 733:The most recent revision, 572:Cavendish House, Leicester 29: 2107:Film and video technology 1380:. The Walt Disney Company 429:total internal reflection 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 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: 140: 133: 115: 16:(Redirected from 2124: 2077: 2070: 2061: 2054: 2047: 2040: 2033: 2026: 2019: 2001: 1994: 1987: 1962: 1954: 1946: 1927: 1919: 1911: 1903: 1884: 1876: 1868: 1860: 1852: 1844: 1830: 1816: 1809: 1802: 1795: 1788: 1781: 1774: 1747: 1740: 1733: 1724: 1719: 1717: 1715: 1698:Mitchell, Rick. 1694: 1677: 1676: 1674: 1672: 1658: 1652: 1651: 1649: 1647: 1633: 1627: 1614: 1608: 1607: 1605: 1603: 1591:LaViola, James. 1588: 1582: 1581: 1579: 1577: 1565:LaViola, James. 1562: 1556: 1555: 1550: 1548: 1533: 1527: 1526: 1524: 1522: 1507: 1501: 1491: 1485: 1478: 1472: 1471: 1470:on May 25, 2021. 1466:. 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Douglass 326: 314: 266: 244: 228:JSC Optica-Elite 186: 184: 153: 146: 136: 129: 125: 122: 116: 114: 73: 49: 41: 21: 2132: 2131: 2127: 2126: 2125: 2123: 2122: 2121: 2087: 2086: 2085: 2080: 2073: 2066: 2057: 2050: 2043: 2036: 2029: 2022: 2015: 2004: 1997: 1990: 1983: 1965: 1957: 1949: 1941: 1930: 1922: 1914: 1906: 1898: 1887: 1879: 1871: 1863: 1855: 1847: 1839: 1819: 1812: 1805: 1798: 1791: 1784: 1777: 1770: 1757: 1753:Motion picture 1751: 1713: 1711: 1697: 1689: 1686: 1681: 1680: 1670: 1668: 1660: 1659: 1655: 1645: 1643: 1635: 1634: 1630: 1624:Wayback Machine 1615: 1611: 1601: 1599: 1590: 1589: 1585: 1575: 1573: 1564: 1563: 1559: 1546: 1544: 1535: 1534: 1530: 1520: 1518: 1509: 1508: 1504: 1492: 1488: 1479: 1475: 1438: 1437: 1433: 1398: 1397: 1393: 1383: 1381: 1371: 1370: 1366: 1359: 1355: 1348: 1341: 1340: 1336: 1329: 1322: 1321: 1317: 1310: 1303: 1302: 1298: 1289: 1285: 1276: 1269: 1259: 1257: 1243: 1242: 1238: 1228: 1226: 1212: 1211: 1207: 1197: 1195: 1185: 1184: 1180: 1175: 1128: 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Series 834: 831: 828: 825: 824: 822: 819: 814: 810: 807: 804: 801: 798: 795: 792: 789: 786: 783: 780: 777: 774: 771: 770: 768: 767: 763: 762: 758: 756: 752: 744: 742: 738: 736: 731: 729: 724: 720: 715: 713: 708: 704: 695: 691: 689: 684: 679: 675: 671: 667: 660:Aspect ratio 659: 657: 655: 651: 650: 645: 640: 633: 628: 624: 621: 617: 613: 609: 601: 599: 595: 593: 589: 583: 581: 573: 569: 564: 560: 558: 554: 550: 545: 540: 536: 527: 520: 518: 516: 511: 510: 504: 500: 495: 492: 488: 483: 476: 474: 470: 468: 462: 455: 453: 450: 446: 442: 438: 434: 430: 426: 420: 418: 414: 413:aspect ratios 406: 404: 402: 401: 396: 392: 387: 385: 381: 378:also created 377: 372: 370: 366: 362: 361: 355: 351: 343: 341: 339: 334: 329: 327: 325: 319: 315: 313: 307: 306: 301: 297: 293: 289: 285: 281: 277: 265: 254: 250: 243: 216: 212: 211:Carl Zeiss AG 208: 204: 200: 196: 193: 189: 178: 174: 171: 168: 164: 160: 156: 152: 147: 135: 132: 124: 113: 110: 106: 103: 99: 96: 92: 89: 85: 82: – 81: 77: 76:Find sources: 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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: 808: 802: 796: 790: 784: 778: 772: 764: 754: 739: 734: 732: 727: 718: 716: 711: 706: 701:The initial 700: 687: 673: 669: 665: 663: 647: 641: 637: 608:flat formats 607: 605: 596: 584: 577: 557:Wes Anderson 532: 514: 506: 503:Aspect ratio 498: 496: 480: 471: 463: 459: 421: 410: 398: 388: 373: 358: 347: 330: 321: 317: 309: 303: 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 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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