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Anamorphic format is the
cinematography Cinematography (from ancient Greek κίνημα, ''kìnema'' "movement" and γράφειν, ''gràphein'' "to write") is the art of motion picture (and more recently, electronic video camera) photography. Cinematographers use a lens to foc ...
technique of shooting a
widescreen Widescreen images are displayed within a set of aspect ratios (relationship of image width to height) used in film, television and computer screens. In film, a widescreen film is any film image with a width-to-height aspect ratio greater than t ...
picture on standard 35 mm film or other visual recording media with a non-widescreen native aspect ratio. 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 anamorphic widescreen, a different video encoding concept that uses similar principles but different means). The word ''
anamorphic Anamorphic format is the cinematography technique of shooting a widescreen picture on standard 35 mm film or other visual recording media with a non-widescreen native aspect ratio. It also refers to the projection format in which a distorted ...
'' and its derivatives stem from the Greek ''anamorphoun'' ("to transform"), compound of ''morphé'' ("form, shape") with the prefix ''aná'' ("back, against"). In the late 1990s and 2000s, anamorphic lost popularity in comparison to "flat" (or "spherical") formats such as Super 35 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 ISO sensitivity of digital sensors, which facilitates shooting at smaller apertures.


History

The process of anamorphosing optics was developed by Henri Chrétien during
World War I World War I (28 July 1914 11 November 1918), often abbreviated as WWI, was one of the deadliest global conflicts in history. Belligerents included much of Europe, the Russian Empire, the United States, and the Ottoman Empire, with fightin ...
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
To Build a Fire "To Build a Fire" is a short story by American author Jack London. There are two versions of this story. The first one was published in 1902, and the other was published in 1908. The story written in 1908 has become an often anthologized classic, ...
(based on the 1908
Jack London John Griffith Chaney (January 12, 1876 – November 22, 1916), better known as Jack London, was an American novelist, journalist and activist. A pioneer of commercial fiction and American magazines, he was one of the first American authors to ...
story of the same name) in 1927 by
Claude Autant-Lara Claude Autant-Lara (; 5 August 1901 – 5 February 2000) was a French film director and later Member of the European Parliament (MEP). Biography Born at Luzarches in Val-d'Oise, Autant-Lara was educated in France and at London's Mill Hill Sc ...
.Konigsberg, Ira. ''The Complete Film Dictionary'' Meridian. 1987. "Anamorphic lens" pp. 11-12 In the 1920s, phonograph and motion picture pioneer Leon F. Douglass also created
special effects Special effects (often abbreviated as SFX, F/X or simply FX) are illusions or visual tricks used in the theatre, film, television, video game, amusement park and simulator industries to simulate the imagined events in a story or virtual wo ...
and anamorphic
widescreen Widescreen images are displayed within a set of aspect ratios (relationship of image width to height) used in film, television and computer screens. In film, a widescreen film is any film image with a width-to-height aspect ratio greater than t ...
motion picture cameras. However, how this relates to the earlier French invention, and later development, is unclear. Anamorphic widescreen was not used again for cinematography until 1952 when
Twentieth Century-Fox 20th Century Studios, Inc. (previously known as 20th Century Fox) is an American film production company headquartered at the Fox Studio Lot in the Century City area of Los Angeles. As of 2019, it serves as a film production arm of Walt Dis ...
bought the rights to the technique to create its CinemaScope 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 cinemas. ''
The Robe ''The Robe'' is a 1942 historical novel about the Crucifixion of Jesus, written by Lloyd C. Douglas. The book was one of the best-selling titles of the 1940s. It entered the ''New York Times'' Best Seller list in October 1942, four weeks later ...
'', which premiered in 1953, was the first feature film released that was filmed with an anamorphic lens.


Development

The introduction of anamorphic widescreen arose from a desire for wider aspect ratios that maximized overall image detail (compared to other widescreen formats, not compared to fullscreen) while retaining the use of standard (4 perf per frame) 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 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. 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 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.
Ultra Panavision Ultra Panavision 70 and MGM Camera 65 were, from 1957 to 1966, the marketing brands that identified motion pictures photographed with Panavision's anamorphic movie camera lenses on 65 mm film. Ultra Panavision 70 and MGM Camera 65 were shot at 24 f ...
), curved mirrors in combination with the principle of
total internal reflection Total internal reflection (TIR) is the optical phenomenon in which waves arriving at the interface (boundary) from one medium to another (e.g., from water to air) are not refracted into the second ("external") medium, but completely reflect ...
(e.g.
Technirama __NOTOC__ Technirama is a screen process that has been used by some film production houses as an alternative to CinemaScope. It was first used in 1957 but fell into disuse in the mid-1960s. The process was invented by Technicolor and is an anamor ...
), and
cylindrical lens A cylindrical lens is a lens which focuses light into a line instead of a point, as a spherical lens would. The curved face or faces of a cylindrical lens are sections of a cylinder, and focus the image passing through it into a line parallel to ...
es (lenses curved, hence squeezing the image being photographed, in only one direction, as with a cylinder, e.g. the original CinemaScope system based on Henri Chrétien's design). Regardless of method, the anamorphic
lens A lens is a transmissive optical device which focuses or disperses a light beam by means of refraction. A simple lens consists of a single piece of transparent material, while a compound lens consists of several simple lenses (''elements ...
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.


Equipment

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 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. 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
Technirama __NOTOC__ Technirama is a screen process that has been used by some film production houses as an alternative to CinemaScope. It was first used in 1957 but fell into disuse in the mid-1960s. The process was invented by Technicolor and is an anamor ...
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. 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 or projector, rather than invest in an entirely new film format, which would require new cameras, projectors, editing equipment and so forth.


Naming

Cinerama Cinerama is a widescreen process that originally projected images simultaneously from three synchronized 35mm projectors onto a huge, deeply curved screen, subtending 146° of arc. The trademarked process was marketed by the Cinerama corporati ...
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 images never blended together perfectly at the edges. The system also suffered from various technical drawbacks, in that it required three projectors, a 6-perf-high frame, four times as much film, and three cameras (eventually simplified to just one camera with three lenses and three streaming reels of film and the attendant machinery), plus a host of synchronization 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 similar aspect ratio and without the disadvantages of Cinerama's complexities and costs. The anamorphic widescreen format in use today is commonly called 'Scope' (a contraction of the early term ''CinemaScope''), or 2.35:1 (the latter being a misnomer born of old habit; see " Aspect ratio" section below). ''Filmed in
Panavision Panavision is an American motion picture equipment company founded in 1953 specializing in cameras and lenses, based in Woodland Hills, California. Formed by Robert Gottschalk as a small partnership to create anamorphic projection lenses dur ...
'' 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 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 ''CinemaScope mumps'', which distorted faces as they got closer to the camera.)


Optical characteristics

There are artifacts that can occur when using an anamorphic camera lens that do not occur when using an ordinary spherical lens. One is a kind of
lens flare A lens flare happens when light is scattered or flared in a lens system, often in response to a bright light, producing a sometimes undesirable artifact in the image. This happens through light scattered by the imaging mechanism itself, for ex ...
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 often emulated using a special effect 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, wide-angle anamorphic lenses of less than 40 mm focal length produce a cylindrical perspective, which some directors and cinematographers, particularly
Wes Anderson Wesley Wales Anderson (born May 1, 1969) is an American filmmaker. His films are known for their eccentricity and unique visual and narrative styles. They often contain themes of grief, loss of innocence, and dysfunctional families. Cited by ...
, use as a stylistic trademark. Another characteristic of anamorphic lenses is that out-of-focus elements tend to blur more in the vertical direction, due to the cylindrical glass effectively creating two focal lengths within the lens. An out-of-focus point of light in the background (called
bokeh In photography, bokeh ( or ; ) is the aesthetic quality of the blur produced in out-of-focus parts of an image. Bokeh has also been defined as "the way the lens renders out-of-focus points of light". Differences in lens aberrations and ...
) appears as a vertical oval rather than as a circle. When the camera shifts focus, there is often a noticeable effect whereby objects appear to stretch vertically when going out of focus. However, the commonly cited claim that anamorphic lenses produce a shallower depth of field is not entirely true. Due to the aforementioned dual-focal-length effect, anamorphic lenses take in a horizontal angle of view twice as wide as a spherical lens of the same focal length. Because of this, cinematographers often use a 50 mm anamorphic lens when they would otherwise use a 25 mm spherical lens, or a 70 mm rather than a 35 mm, and so on. 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 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 mumps, 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 Chrétien's off-the-shelf lenses) suffered from this. Panavision was the first company to produce an anti-mumps system in the late 1950s. 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, 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.


Recent use

Beginning in the 1990s, anamorphic began to lose popularity in favor of ''flat formats'', mainly Super 35. (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
digital intermediate Digital intermediate (typically abbreviated DI) is a motion picture finishing process which classically involves digitizing a motion picture and manipulating the color and other image characteristics. Definition and overview A digital intermediat ...
in the 2000s,
film grain Film grain or granularity is the random optical texture of processed photographic film due to the presence of small particles of a metallic silver, or dye clouds, developed from silver halide that have received enough photons. While film grain i ...
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). 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 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.


Aspect ratio

One common misconception about the anamorphic format concerns the actual width number of the aspect ratio, as 2.35, 2.39 or 2.40. Since the anamorphic lenses in virtually all 35 mm anamorphic systems provide a 2:1 squeeze, one would logically conclude that a full academy gate would lead to a 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
SMPTE The Society of Motion Picture and Television Engineers (SMPTE) (, rarely ), founded in 1916 as the Society of Motion Picture Engineers or SMPE, is a global professional association of engineers, technologists, and executives working in the m ...
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 ratio (ANSI PH22.104-1957). The initial
SMPTE The Society of Motion Picture and Television Engineers (SMPTE) (, rarely ), founded in 1916 as the Society of Motion Picture Engineers or SMPE, is a global professional association of engineers, technologists, and executives working in the m ...
definition for anamorphic projection with an optical sound track down the side ANSI PH22.106-1957 was issued in December 1957. It standardized the projector aperture at , which gives an aspect ratio of c. . The aspect ratio for this aperture, after a 2× unsqueeze, is (1678:715), which rounded to the commonly used value . A new definition issued in June 1971 as ANSI PH22.106-1971. It specified a slightly smaller vertical dimension of for the projector aperture (and a nearly identical horizontal dimension of ), to help make splices less noticeable to film viewers. After unsqueezing, this would yield an aspect ratio of c. . Four-perf 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 even before 1971. This new projector aperture size, , aspect ratio , made for an un-squeezed ratio of about (43:18). The most recent revision, SMPTE 195-1993, was released in August 1993. It slightly altered the dimensions so as to standardize a common projection aperture width () for all formats, anamorphic () and flat (). The projection aperture height was also reduced by to give an aperture size of , and an aspect ratio of , and thus retaining the un-squeezed ratio of about .Hart, Martin.(2000). Widescreen museu
"Of Apertures and Aspect Ratios"
Retrieved July 8, 2006.
The camera's aperture remained the same ( or if before 1958), only the height of the "negative assembly" splices changed and, consequently, the height of the frame changed. 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 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.


Lens makers and corporate trademarks

There are numerous companies that are known for manufacturing anamorphic lenses. The following are the most well known in the film industry:


Origination

*
Panavision Panavision is an American motion picture equipment company founded in 1953 specializing in cameras and lenses, based in Woodland Hills, California. Formed by Robert Gottschalk as a small partnership to create anamorphic projection lenses dur ...
is the most common source of anamorphic lenses, with lens series ranging from 20 mm to a 2,000 mm anamorphic telescope. The C-Series, which is the oldest lens series, are small and lightweight, which makes them very popular for steadicams. Some cinematographers prefer them to newer lenses because they are lower in contrast. The E-Series, of Nikon glass, 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. The Super (High) Speed lenses (1976), also by Nikon, are the fastest anamorphic lenses available, with T-stops between 1.4 and 1.8; there is even one T1.1 50mm, but, like all anamorphic lenses, they must be stopped-down for good performance because they are quite softly focused when wide open. The Primo and Close-Focus Primo Series (1989) are based on the spherical Primos and are the sharpest Panavision anamorphic lenses available. They are completely color-matched, but also very heavy: about . The G-Series (2007) performance and size comparable with E-Series, in lightweight and compact similar to C-Series. The T-Series (2016), Panavision's latest anamorphic lens series, is designed for digital cameras initially, but also film camera compatible through specific re-engineering at Panavision. * Vantage Film, 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. The C-Series, which were developed in the mid-1990s, are relatively small and lightweight. The V-Series (2001) and V-Plus Series (2006) are an improvement over 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 ). There are 14 lenses in this series—from 25 mm to 250 mm. The V-Series also have the closest minimum focus of any anamorphic lens series available and as such can rival spherical lenses. Vantage also offers a series of lightweight lenses called V-Lite. They are 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. In 2008 Vantage introduced the Hawk V-Lite 16, a set of new lenses for 16 mm anamorphic production, as well as the Hawk V-Lite 1.3× lenses, which make it possible to use nearly the entire image area of
3-perf Negative pulldown is the manner in which an image is exposed on a film stock, described in the number of film perforations spanned by an individual frame. It can also describe the orientation of the image on the negative, whether it is captured ho ...
35 mm film or the sensor area of a 16:9 digital camera and at the same time provide the popular 2.39:1 release format. *
Carl Zeiss AG Carl Zeiss AG (), branded as ZEISS, is a German manufacturer of optical systems and optoelectronics, founded in Jena, Germany in 1846 by optician Carl Zeiss. Together with Ernst Abbe (joined 1866) and Otto Schott (joined 1884) he laid the f ...
and ARRI 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 Technovision. *
Cooke Optics Cooke Optics Ltd. is a camera lens manufacturing company based in Leicester. Administratively speaking, Cooke Optics is a spin-off of the company Taylor-Hobson. However, Taylor-Hobson used to be a lens manufacturer and Cooke lenses used to be ...
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 Technovision. Cooke also developed its Anamorphic/i Full Frame Plus in 1.8× squeeze ratio for full frame cameras. * Angenieux: 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. * Joe Dunton Camera (JDC): A manufacturer and rental house based in Britain and North Carolina, which adapts spherical lenses to anamorphic by adding a cylindrical element. Its most popular lenses are the Xtal Xpres series (pronounced "Crystal Express"), which were built by Shiga Optical Co. in Japan from old Cooke S2/S3 and Panchro lenses. They have also adapted Zeiss Super Speeds and Standards (the Speedstar series), as well as Canon lenses. JDC was purchased by Panavision in 2007."Panavision to Acquire Camera Assets of Joe Dunton & Company"
PR Newswire. August 15, 2007. Retrieved February 1, 2013.
* Elite Optics, manufactured by JSC Optica-Elite Company in St. Petersburg, Russia and sold in the United States by Slow Motion Inc. * Technovision, a French manufacturer that, like JDC, has adapted spherical Cooke and Zeiss lenses to anamorphic. Technovision was purchased by Panavision in 2004. * Isco Optics, a German company that developed the Arriscope line for Arri in 1989.


Projection

* ISCO Precision Optics is a manufacturer of theatrical cinema projection lenses. * Panamorph is a manufacturer of hybrid cylindrical / prism based projection lenses specialized for the consumer home theater industry. *
Schneider Kreuznach Schneider Kreuznach () is the abbreviated name of the company Jos. Schneider Optische Werke GmbH, which is sometimes also simply referred to as Schneider. They are a manufacturer of industrial and photographic optics. The company was founded on ...
, (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.


Super 35 and Techniscope

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 from spherical negatives. Because the 2.40:1 image cropped from an Academy ratio 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
negative pulldown Negative pulldown is the manner in which an image is exposed on a film stock, described in the number of film perforations spanned by an individual frame. It can also describe the orientation of the image on the negative, whether it is captured ho ...
method (most commonly 3-perf, but occasionally
Techniscope Techniscope or 2-perf is a 35 mm motion picture camera film format introduced by Technicolor Italia in 1960. The Techniscope format uses a two film-perforation negative pulldown per frame, instead of the standard four-perforation frame us ...
2-perf) usually in conjunction with the added negative space Super 35 affords. However, with advancements in
digital intermediate Digital intermediate (typically abbreviated DI) is a motion picture finishing process which classically involves digitizing a motion picture and manipulating the color and other image characteristics. Definition and overview A digital intermediat ...
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 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 Super 35 the popular choice in large budget visual effects driven productions.


See also

* Arriscope *
Anamorphosis Anamorphosis is a distorted projection requiring the viewer to occupy a specific vantage point, use special devices, or both to view a recognizable image. It is used in painting, photography, sculpture and installation, toys, and film special e ...
* Aspect ratio *
Cine 160 Cine 160 is a 35 mm film projection process proposed by Allan Silliphant whereby a single frame of film would occupy a length of six film perforations. This could then be used for either of two currently proposed applications: 3-D film projection ...
* Letterbox *
List of film formats This list of motion picture film formats catalogues formats developed for shooting or viewing motion pictures, ranging from the Chronophotographe format from 1888, to mid-20th century formats such as the 1953 CinemaScope format, to more recent f ...
*
Pan and scan Pan and scan is a method of adjusting widescreen film images so that they can be shown in fullscreen proportions of a standard-definition 4:3 aspect ratio television screen, often cropping off the sides of the original widescreen image to focus ...
* 21:9 aspect ratio


References


External links

* * {{DEFAULTSORT:Anamorphic Format American inventions French inventions Film and video technology Motion picture film formats Audiovisual introductions in 1953