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Professionals typically use DSLR cameras or expensive, bulky camcorders to produce cinematic footage. And if you're hoping to give videography a try, the price tags on these cameras, as well as cinema lenses and other video recording accessories, can seem pretty discouraging. However, you can always make use of what you already have—your handy iPhone.

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• Anamorphic Pro 1 6 – Professional Lens Blur Tool Download Windows 10

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Today's iPhones are packed with some of the most advanced imaging technologies and remarkable camera features, on top of being a trusty multi-purpose mobile device. In fact, not only are the latest iPhones capable of capturing great photos, they can now record cinema-quality 4K video as well.

With a couple of high-tech and innovative smartphone accessories, you can turn your very own smartphone into a professional video camera machine and realize your passion and potential in videography.

Portrait pro free download - Portrait Studio Pro, Portrait Professional, Portrait Mode Pro - Lens Blur and Bokeh editor, and many more programs. In other words, VENICE's new full-frame sensor can capture in almost any format, including full 18mm-height Super35 Anamorphic and spherical and full-frame 24mm-height Anamorphic and spherical. Almost any aspect ratio can be conjured up: 1.85:1, 2.39:1, 17:9, the list goes on in full-frame or Super35.

Essential Gear for iPhone Videography this 2020

Gear up for your next film project with these essential iPhone filming accessories. To help you get started, we've also listed down a few specific products that you may want to check out. Some of these may still seem expensive, but they're a lot more affordable than professional video recording equipment:

• Video Rig Case
• Accessory Lenses
• Gimbal Stabilizer
• Lighting
• Microphone

Video Rig Case

The first thing you'll need to get for your iPhone is a durable case that will protect it while providing ease in video camera operations. Video rig cases generally work with other equipment, like tripods and lenses, so you can start creating your full video camera setup with it.

ULANZI's U-Rig Handheld Metal Video Rig () is an excellent choice for an iPhone video rig case. It has a spring clip and a built-in screw that you can use to lock your iPhone in place while mounting. Plus, the U-Rig features handgrips for the easier framing of shots.

You'll also love this rig case's versatility: it has a variety of built-in mounts where you can attach your accessories. Dual cold shoes, four ¼'-20 threaded mounts, and a front threaded mount for 37mm or 17mm lenses and filters offer endless mounting possibilities.

The VidPro Melamount Professional Multimedia Rig is another sturdy rig case that features two flip-out handles that allow you to firmly grip and hold the camera rig steadily while filming. It also has a socket for your tripod, cold-shoe mounts for your wireless accessories, a bubble level to keep panning shots leveled, and a built-in lens bezel for easy attachment of additional lenses.

This best-selling accessory works with the iPhone 7 (), as well as the iPhone 7 Plus and 8 Plus ().

Accessory Lenses

Fortunately, Apple has upgraded iPhone 8, 8 Plus, and X models with camera sensors and double lenses for capturing both wide-angle and telephoto shots. But the iPhone 11 series takes capturing these kinds of shots up a notch. Fonepaw video converter ultimate 2 9 07. The iPhone 11 Pro is a stand-out with ultra-wide, wide-angle, and telephoto lenses in its triple-camera system. You can also achieve wide and telephoto shots by simply adding clip-on lenses to earlier iPhone models.

Other accessory lenses also offer macro and fisheye views, in case you want variety in your shots. This means no more oversized and bulky lenses just to be able to do more with your smartphone camera.

However, don't just purchase any other lens accessory. For pro-quality videos, you'll need higher quality and more durable lenses that can help you capture crystal-clear video. Moment is one brand that offers pro-level lenses for your iPhone. They utilize a particular technique in optimizing multi-element designs and high-precision manufacturing facilities in producing lens elements. Both of these aspects prove that Moment's lenses are of the highest quality.

The brand currently has five lens options available on the market, which we've listed down below.

• Moment 1.33x Anamorphic Lens ()
• Moment Wide 18mm Lens ()
• Moment Tele 58mm Lens ()
• Moment Fisheye 14mm Lens ()
• Moment Macro 10x Lens ()

All of these pro-quality iPhone lens attachments feature mounting plates and a simple bayonet design that places them on your phone's camera.

Gimbal Stabilizer

The most difficult feat when it comes to shooting with your smartphone (aside from achieving a variety of shots) is stabilizing your device to shoot amazing videos. After all, smooth and steady shots are what sets professional videos apart from amateur results.

You don't need a huge and expensive tripod to shoot your video. You can make use of your existing tripod with the help of a separate smartphone rig case with a tripod mount underneath it.

But if you want the convenience of being able to move around while keeping your footage stable and blur-free, you can opt for a more high-tech gimbal stabilizer. A gimbal holds the camera and eliminates unwanted shaky and sudden camera movements with its motors and weights, making your final product look more polished, cinematic, and professional.

DJI's Osmo Mobile 3 () is considered to be of the best gimbal stabilizers available today. With its sleek and foldable design, you can take this iPhone gimbal anywhere—from indoor sets to the streets. The Osmo Mobile 3 is also lightweight at 405 g, so putting it in your backpack is pretty easy. Plus, it enables simple one-hand operation with convenient buttons and intuitive functions.

But if you're looking for a more affordable gimbal, FeiyuTech's VLOG Pocket () is worth a try. This portable gimbal has two dedicated buttons that offer straightforward use. A quick toggle button lets you turn the VLOG Pocket on, as well as switch between lock and panning modes. You can even put your iPhone in landscape or portrait mode with this button. Another button on the VLOG Pocket makes capturing stills or videos possible.

You can also set this iPhone gimbal on a flat surface while you're shooting via the included mini tripod. The tripod attaches to the VLOG Pocket's ¼-20' mounting thread.

Lighting

Light is another iPhone video tool that turns your videos or films into stunning masterpieces. As the main element in both photography and videography, light can help you set a particular mood and highlight certain details in your frame, aside from simply brightening your scene.

For DIY projects, you can use any kind of external light source, from lamps and flashlights to small, mountable smartphone lights. You'll find that some cheaper alternatives work just as well as the more professional and expensive ones, so the one you need depends on your desired output and how much control you want over your lighting.

If you're looking for something more adaptable, one of the best lighting tools for iPhones (and other smartphones) is the iBower Professional LED Video Light (), which is packed with 50 powerful LED lights in its lightweight, 1-centimeter thick rectangular body. It offers eight power levels, so you can light up a variety of scenes throughout the day for as long as 18 hours straight.

The iBower LED video light also comes with an orange warming plate, a blue cooling plate, and a white diffusing plate. It's highly versatile and can be paired with your iPhone, tablets, and other devices, including DSLRs, compact digital cameras, and rig cases via the included cold shoe adapter.

Microphone

Image from Shure

To complete your iPhone videography gear kit, you'll need an external microphone that can record higher quality audio to match your amazing videos—from interviews, vlogs, to realistic films. You have a lot of options to choose from, including lapel mics, on-device mics, and wireless mics.

The Shure MOTIV MV88 Digital Stereo Condenser Microphone () is designed to capture and deliver clear, high-quality sound. Simply plug its Lightning connector into your iPhone and position the pivoting and rotating mic towards the source of the sound. Your iPhone will instantly use it to capture real-life audio once you start recording with your audio or video recording app. Customize your sound with advanced control over EQ, stereo width, modes for speech and music, and more with the free ShurePlus™ MOTIV™ Mobile Recording app.

RØDE's VideoMic Me () is also a great iPhone video microphone. It connects directly to the phone's TRRS mic or headphone jack and suits front camera use with a flexible mounting bracket. This bracket accepts various smartphone models, too. VideoMic Me mics have a rear 3.5mm headphone jack that lets you play audio while you're shooting. Plus, you can view your videos while the mic stays on your phone with the jack.

Frequently Asked Questions about iPhone Video Equipment

Which iPhone is best for filmmaking?

Some iPhones feature superb camera performance for shooting videos or films. But if you want to shoot pro videos, go for any model in the iPhone 11 series. iPhone 11, Pro, and Pro Max phones have 12-megapixel cameras with 4K video at 60fps. An extended dynamic range is available for Pro and Pro Max users.

How do I take good videos on my iPhone?

First, always use a tripod. Newer iPhones may feature image stabilization, but a tripod is still superior in keeping your footage steady. You should also avoid using your phone's digital zoom and move your phone closer to your subject for close-ups. And remember to use the iPhone's exposure lock for consistent focus and exposure during filming.

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What app should I use to edit my videos?

Once you're done filming, you can simply edit and create your videos using a good video editing app. iMovie, Lumafusion, and Premiere Rush CC are some excellent apps that you should check out. You can export your videos and use a pro video editor on your computer to create your first iPhone video masterpiece, too.

Are there any features in my iPhone's camera that I can use in creating unique videos?

Yes. There's the Burst Mode, which lets you shoot ten images per second for a short burst. New iPhones also have grid lines to help your subjects have enough space when you're shooting with two people. And of course, you can use time-lapse, slo-mo, panorama, or even the QuickTake mode on the iPhone 11 series.

I don't have a tripod or gimbal. Can I still capture steady videos with my iPhone?

Yes. iPhone 8 and X models have Dual Optical Image Stabilization, which delivers less motion blur and camera shake while you're filming your scenes. Optical image stabilization is also available on iPhone 11, Pro, and Pro Max models. The iPhone 11's Wide camera and the Wide and Telephoto cameras on Pro variants use this feature.

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Ready to build your iPhone filmmaking equipment kit? Check out the recommended products mentioned above, or explore your other videography gear options here on Adorama!

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 image is 'stretched' by an anamorphic projection lens to recreate the original aspect ratio on the viewing screen. (It should not be confused with anamorphic widescreen, a different video encoding concept that uses similar principles but different means.) The word anamorphic and its derivatives stem from the Greek anamorphoun ('to transform'),^[1] compound of morphé ('form, shape')^[2] with the prefix aná ('back, against').^[3] 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[edit]

The process of anamorphosing optics was developed by Henri Chrétien during World War I 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 Construire un Feu (To Build a Fire, based on the 1908 Jack London story of the same name) in 1927 by Claude Autant-Lara.^[4]

In the 1920s, phonograph and motion picture pioneer Leon F. Douglass also created special effects and anamorphic widescreen motion picture cameras. However, how this relates to the earlier French invention, and later development, is unclear.^[5]

Anamorphic widescreen was not used again for cinematography until 1952 when Twentieth Century-Fox bought the rights to the technique to create its CinemaScope widescreen technique.^[4] 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, which premiered in 1953, was the first feature film released that was filmed with an anamorphic lens.

Development[edit]

The introduction of anamorphic widescreen arose from a desire for wider aspect ratios that maximised overall image detail 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 format35 mm film (standard non-anamorphic full frame with sound tracks in the image area) has an aspect ratio of 1.375:1, which, when projected, is not as wide.

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),^[6] curved mirrors in combination with the principle of Total Internal Reflection (e.g. Technirama),^[7] and cylindrical lenses (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).^[8] Regardless of method, the anamorphic lens 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[edit]

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 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[edit]

Cinerama 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 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[edit]

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 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, use as a stylistic trademark.

Another characteristic of anamorphic lenses, because they stretch the image vertically, is that out-of-focus elements tend to blur more in the vertical direction. An out-of-focus point of light in the background (called bokeh^[9]) appear 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. Because of the cylindrical element in the lens, 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[edit]

Although the anamorphic widescreen format is still in use as a camera format, it has been losing popularity in favour of flat formats, mainly Super 35. (In Super 35, the film is shot flat, then matted, and optically printed as an anamorphic release print.) The decline in popularity can be attributed to the artifacts, distortions, speed, and expenses (in comparison to its spherical counterpart).

An anamorphic lens is often slower (has a smaller effective aperture) than a similar spherical lens, and thus requires more light and makes shooting low-light scenes more difficult. The anamorphic-scope camera format does not preserve any of the image above or below the frame, so it may not transfer as well to narrower aspect ratios, such as 4:3 or 16:9 for full screen television, and would have to be pan and scanned as a result. Film grain has become less of a concern because of the availability of higher-quality film stocks and digital intermediates, although anamorphic format - due to its use of the full negative frame to record a smaller image – always yields higher definition than non-anamorphic format (provided the anamorphic projection lens, which is technically more demanding, is adequate).

Anamorphic scope as a printed film format, however, is well established as a standard for widescreen projection. Regardless of the camera formats used in filming, distributed prints of a film with a 2.39:1 (1024:429) theatrical aspect ratio is always in anamorphic widescreen format. Due to many movie theaters around the world not needing to invest in special equipment to project this format, it has become standard equipment in many cinemas.

Aspect ratio [edit]

One common misconception about the anamorphic format concerns the actual width number of the aspect ratio, as 2.35, 2.39 or 2.4. 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 full academy gate 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 SMPTE 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 (ANSI PH22.104-1957).

The initial SMPTE 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 0.839 × 0.715 inches (21.3 × 18.2 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, which rounded to the commonly used value 2.35∶1.

A new definition issued in October 1971 as ANSI PH22.106-1971. It specified a slightly smaller vertical dimension of 0.700 inches (17.8 mm) for the projector aperture, to help make splices less noticeable to film viewers. After unsqueezing, this would yield an aspect ratio of c. 2.397∶1.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, 0.838 × 0.700 inches (21.3 × 17.8 mm), aspect ratio 1.1971…∶1, made for an un-squeezed ratio of 2.39∶1. This is commonly referred to by the rounded value 2.40∶1 or 2.4∶1.

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 (0.825 inches or 21.0 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) in this modern specification to 0.825 × 0.690 inches (21.0 × 17.5 mm), aspect ratio 1.1956…∶1, which is commonly rounded to 1.20∶1, to retain the un-squeezed ratio of 2.39∶1.^[10] 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.

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[edit]

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

Origination[edit]

• Panavision 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 5–7 kg (11–15 lb). 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 4–5 kg [8.8–11.0 lb]). 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 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 and ARRI developed their Master Anamorphic lens line, debuted on September 2012, to provide minimum distortion and faster aperture at T1.9. It's a totally new lens design which different from third-party modified Zeiss-based anamorphics such as JDC and Technovision.
• Cooke Optics also developed their Anamorphic/i lens line, providing T2.3 aperture and color-matched with other Cooke lens line, which marketed as their 'Cooke Look' feature. Same as Zeiss, it's a totally new lens design which different from third-party modified Cooke-based anamorphics such as JDC and Technovision. Besides, Cooke also developed its Anamorphic/i Full Frame Plus in 1.8× squeeze ratio for full frame cameras.
• Angenieux: Angenieux 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 weighs less than 2.5 kg.
• Joe Dunton Camera (JDC): 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 Optics 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.^[11]
• Elite Optics, manufactured by JSC Optica-Elite Company in 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[edit]

• 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, (also called Century Optics) 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[edit]

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 method (most commonly 3-perf, but occasionally Techniscope 2-perf) usually in conjunction with the added negative space Super 35 affords.

However, with advancements in digital intermediate 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[edit]

References[edit]

1. ^'Anamorphosis – Definition and meaning'. Collins English Dictionary. Retrieved May 9, 2020.
2. ^'Origin and meaning of prefix morpho-'. Online Etymology Dictionary. Retrieved May 9, 2020.
3. ^'Origin and meaning of prefix ana-'. Online Etymology Dictionary. Retrieved May 9, 2020.
4. ^ ^abKonigsberg, Ira. The Complete Film Dictionary Meridian. 1987. 'Anamorphic lens' pp. 11-12
5. ^Michael Svanevik and Shirley Burgett, 'Menlo's Mild-Mannered Film Wizard: Motion Picture Inventor Leon Douglass Deserves Historical Niche', Palo Alto Daily News (July 5, 2008) pp. 6-7
6. ^US Grant 2890622A, Walter Wallin, 'Anamorphosing system', published 11 August 1954, issued 16 June 1959, assigned to Panavision Inc
7. ^US Grant 3165969A, Frank George Gunn, 'Photographic production of anamorphous records', published 24 October 1955, issued 19 January 1965, assigned to Technicolor Corp of America
8. ^US Grant 1829634A, Henri Chrétien, 'Taking and projection of motion pictures and films therefor', published 28 January 1929, issued 27 October 1931
9. ^Why is anamorphic bokeh oval?
10. ^Hart, Martin.(2000). Widescreen museum 'Of Apertures and Aspect Ratios' Retrieved July 8, 2006.
11. ^'Panavision to Acquire Camera Assets of Joe Dunton & Company'. PR Newswire. August 15, 2007. Retrieved February 1, 2013.

External links[edit]

Another characteristic of anamorphic lenses, because they stretch the image vertically, is that out-of-focus elements tend to blur more in the vertical direction. An out-of-focus point of light in the background (called bokeh^[9]) appear 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. Because of the cylindrical element in the lens, 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[edit]

Although the anamorphic widescreen format is still in use as a camera format, it has been losing popularity in favour of flat formats, mainly Super 35. (In Super 35, the film is shot flat, then matted, and optically printed as an anamorphic release print.) The decline in popularity can be attributed to the artifacts, distortions, speed, and expenses (in comparison to its spherical counterpart).

An anamorphic lens is often slower (has a smaller effective aperture) than a similar spherical lens, and thus requires more light and makes shooting low-light scenes more difficult. The anamorphic-scope camera format does not preserve any of the image above or below the frame, so it may not transfer as well to narrower aspect ratios, such as 4:3 or 16:9 for full screen television, and would have to be pan and scanned as a result. Film grain has become less of a concern because of the availability of higher-quality film stocks and digital intermediates, although anamorphic format - due to its use of the full negative frame to record a smaller image – always yields higher definition than non-anamorphic format (provided the anamorphic projection lens, which is technically more demanding, is adequate).

Anamorphic scope as a printed film format, however, is well established as a standard for widescreen projection. Regardless of the camera formats used in filming, distributed prints of a film with a 2.39:1 (1024:429) theatrical aspect ratio is always in anamorphic widescreen format. Due to many movie theaters around the world not needing to invest in special equipment to project this format, it has become standard equipment in many cinemas.

Aspect ratio [edit]

One common misconception about the anamorphic format concerns the actual width number of the aspect ratio, as 2.35, 2.39 or 2.4. 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 full academy gate 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 SMPTE 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 (ANSI PH22.104-1957).

The initial SMPTE 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 0.839 × 0.715 inches (21.3 × 18.2 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, which rounded to the commonly used value 2.35∶1.

A new definition issued in October 1971 as ANSI PH22.106-1971. It specified a slightly smaller vertical dimension of 0.700 inches (17.8 mm) for the projector aperture, to help make splices less noticeable to film viewers. After unsqueezing, this would yield an aspect ratio of c. 2.397∶1.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, 0.838 × 0.700 inches (21.3 × 17.8 mm), aspect ratio 1.1971…∶1, made for an un-squeezed ratio of 2.39∶1. This is commonly referred to by the rounded value 2.40∶1 or 2.4∶1.

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 (0.825 inches or 21.0 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) in this modern specification to 0.825 × 0.690 inches (21.0 × 17.5 mm), aspect ratio 1.1956…∶1, which is commonly rounded to 1.20∶1, to retain the un-squeezed ratio of 2.39∶1.^[10] 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.

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[edit]

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

Origination[edit]

• Panavision 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 5–7 kg (11–15 lb). 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 4–5 kg [8.8–11.0 lb]). 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 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 and ARRI developed their Master Anamorphic lens line, debuted on September 2012, to provide minimum distortion and faster aperture at T1.9. It's a totally new lens design which different from third-party modified Zeiss-based anamorphics such as JDC and Technovision.
• Cooke Optics also developed their Anamorphic/i lens line, providing T2.3 aperture and color-matched with other Cooke lens line, which marketed as their 'Cooke Look' feature. Same as Zeiss, it's a totally new lens design which different from third-party modified Cooke-based anamorphics such as JDC and Technovision. Besides, Cooke also developed its Anamorphic/i Full Frame Plus in 1.8× squeeze ratio for full frame cameras.
• Angenieux: Angenieux 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 weighs less than 2.5 kg.
• Joe Dunton Camera (JDC): 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 Optics 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.^[11]
• Elite Optics, manufactured by JSC Optica-Elite Company in 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[edit]

• 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, (also called Century Optics) 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[edit]

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 method (most commonly 3-perf, but occasionally Techniscope 2-perf) usually in conjunction with the added negative space Super 35 affords.

However, with advancements in digital intermediate 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[edit]

References[edit]

1. ^'Anamorphosis – Definition and meaning'. Collins English Dictionary. Retrieved May 9, 2020.
2. ^'Origin and meaning of prefix morpho-'. Online Etymology Dictionary. Retrieved May 9, 2020.
3. ^'Origin and meaning of prefix ana-'. Online Etymology Dictionary. Retrieved May 9, 2020.
4. ^ ^abKonigsberg, Ira. The Complete Film Dictionary Meridian. 1987. 'Anamorphic lens' pp. 11-12
5. ^Michael Svanevik and Shirley Burgett, 'Menlo's Mild-Mannered Film Wizard: Motion Picture Inventor Leon Douglass Deserves Historical Niche', Palo Alto Daily News (July 5, 2008) pp. 6-7
6. ^US Grant 2890622A, Walter Wallin, 'Anamorphosing system', published 11 August 1954, issued 16 June 1959, assigned to Panavision Inc
7. ^US Grant 3165969A, Frank George Gunn, 'Photographic production of anamorphous records', published 24 October 1955, issued 19 January 1965, assigned to Technicolor Corp of America
8. ^US Grant 1829634A, Henri Chrétien, 'Taking and projection of motion pictures and films therefor', published 28 January 1929, issued 27 October 1931
9. ^Why is anamorphic bokeh oval?
10. ^Hart, Martin.(2000). Widescreen museum 'Of Apertures and Aspect Ratios' Retrieved July 8, 2006.
11. ^'Panavision to Acquire Camera Assets of Joe Dunton & Company'. PR Newswire. August 15, 2007. Retrieved February 1, 2013.

External links[edit]

• 'Of Apertures and Aspect Ratios'. Widescreen Museum.
• Mitchell, Rick. 'The Widescreen Revolution'. Operating Cameraman. Society of Camera Operators (Summer, 1994). Archived from the original on December 27, 2008. Retrieved July 6, 2013.