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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.
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 great majority are simply re-branded lenses originally known by another name.
The Stone Age cave paintings at Lascaux may make use of anamorphic technique, because the oblique angles of the cave would otherwise result in distorted figures from a viewer's perspective. [citation needed] The ancient historians Pliny and Tzetzes both record a sculpture competition between Alcamenes and Phidias to create an image of Minerva ...
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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 ...
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.
This was a dedicated sealed anamorphic projection lens for use with standard 35mm slide projectors and was designed to complement the 2000 series sealed monobloc anamorphic lenses. The most interesting feature of the 1000 series projector lenses was their elegant anamorphic alignment mechanism. The 1060 was a multicoated lens.
Totalvision cameras equipment and lenses were sold in East Germany (DDR), Yugoslavia, Czechoslovakia, China, Portugal, Spain, Italy, Romania, and Bulgaria. [ 1 ] Totalvision was a competitor of Cinemascope in Europe, providing cheaper licensing fees to European markets while presenting cinematographers with equipment of equal or better quality.