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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.
The anamorphic encoding on DVD is related to the anamorphic filming technique (like CinemaScope) only by name. For instance, Star Wars (1977) was filmed in 2.39:1 ratio using an anamorphic camera lens, and shown in theaters using the corresponding projector lens. Since it is a widescreen film, when encoded on a widescreen-format DVD the studio ...
There have been a great number of anamorphic format trade names, for reasons of prestige, technology, or vanity. The basic 35 mm anamorphic format originally popularized as CinemaScope has been known by a number of other monikers. In some cases, these names actually refer to different lens designs and technologies implemented; however, the ...
CinemaScope logo from The High and the Mighty (1954). CinemaScope is an anamorphic lens series used, from 1953 [1] to 1967, and less often later, for shooting widescreen films that, crucially, could be screened in theatres using existing equipment, albeit with a lens adapter.
Projection lenses indicates whether spherical (normal) or anamorphic lenses are used on the projector, and if anamorphic lenses, what anamorphic power is used. Formats are listed in chronological order and by release date in the case of multiple formats within one year, if this can be determined.
When Moment announced an anamorphic lens, it really caught my attention. After all, the film Tangerine was shot on an iPhone 5S using an anamorphic lens from Moondog Labs, so I was excited to try ...
This little lens brings big screen cinemascope perspective to mobile phones via a phone case for either the iPhone, Google Pixel, or Galaxy. This is great news for filmmakers on a budget chasing ...
The company built a series of anamorphic lenses in the 2.35:1 scope format, and owned several camera bodies (Mitchell and Arriflex) that they would provide with the lens package. Films produced in Todd-AO 35 include Conquest of the Planet of the Apes, Conan the Barbarian, Mad Max, Dune and Logan's Run. [13]