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Technique for recording widescreen images onto a 4:3 frame
Anamorphic format is a cinematography technique that captures widescreen images using recording media with narrower native aspect ratios. Originally developed
Anamorphic_format
a great number of anamorphic format trade names, for reasons of prestige, technology, or vanity. The basic 35 mm anamorphic format originally popularized
List of anamorphic format trade names
List_of_anamorphic_format_trade_names
Technique that compresses a widescreen image onto a 4:3 frame
Anamorphic widescreen (also called full-height anamorphic or FHA) is a process by which a widescreen image is horizontally compressed to fit into a storage
Anamorphic_widescreen
spherical (normal) or anamorphic lenses are used on the projector, and if anamorphic lenses, what anamorphic power is used. Formats are listed in chronological
List of motion picture film formats
List_of_motion_picture_film_formats
Early widescreen filming system
the beginning of the modern anamorphic format in 2.55:1, almost twice as wide as the previously common Academy format's 1.37:1 ratio. Although the technology
CinemaScope
Standard theatrical motion picture film gauge
is done so mistakenly. The commonly used anamorphic format uses a similar four-perf frame, but an anamorphic lens is used on the camera and projector
35_mm_movie_film
Photo and video display formats
anamorphic format lens, which shrinks the extended horizontal field-of-view (FOV) while saving on film or disk. Historically ultrawide movie formats have
Ultrawide_formats
2014 film by Christopher Nolan
Cinematographer Hoyte van Hoytema shot it on 35 mm film in the Panavision anamorphic format and IMAX 70 mm. Filming began in late 2013 and took place in Alberta
Interstellar_(film)
Optical distortion used in art
widescreen formats use anamorphosis to project a wider image from a narrower film frame. The IMAX company uses even more extreme anamorphic transformations
Anamorphosis
Wide high-resolution film gauge
the side-by-side StereoVision format and was distributed in both anamorphically squeezed 35 mm and deluxe non-anamorphic 70 mm form. The system was developed
70_mm_film
Video of higher resolution than original television
broadcasters have transmitted programs squeezed horizontally in 16:9 anamorphic format, in hopes that the viewer has a 16:9 set which stretches the image
High-definition_video
2001 animated Disney film
animated features and remains one of the few to have been shot in anamorphic format. Linguist Marc Okrand constructed an Atlantean language specifically
Atlantis:_The_Lost_Empire
2007 film by Francis Lawrence
Avenue, and Washington Square Park. The film was shot primarily in the anamorphic format, with flashback scenes shot in Super 35. Filming began on September
I_Am_Legend_(film)
Aspect ratio of a displayed image
reluctant to use the anamorphic widescreen size featured in such formats as Cinemascope. Hitchcock used VistaVision, a non-anamorphic widescreen process
Widescreen
2026 film by Steven Spielberg
Panavision Panaflex Millennium XL2 cameras equipped with C and T series anamorphic format lenses for a 2.39:1 aspect ratio. Certain low light scenes were filmed
Disclosure_Day
Height/width proportion of an image
a slightly similar 18.5:9 format. The Apple iPhone X also has a similar screen ratio of 19.5:9 (2.16:1). Anamorphic format is the cinematography technique
Aspect_ratio_(image)
2011 film by Jon Favreau
release the film in 3-D, Favreau chose to film traditionally and in anamorphic format (widescreen picture on standard 35 mm film) to further a "classic
Cowboys_&_Aliens
1959 film by François Truffaut
debut of François Truffaut, who also co-wrote the film. Shot in the anamorphic format DyaliScope, the film stars Jean-Pierre Léaud, Albert Rémy, and Claire
The_400_Blows
2019 film by Taika Waititi
anamorphic format was favored due to its "velvety" tone, focus breathing, as well as authentic bokeh. Lenses include the Hawk V-Lite 1.3x anamorphic,
Jojo_Rabbit
2010 film by Christopher Nolan
romanticism and tragedy and emotion." The film was shot primarily in the anamorphic format on 35 mm film, with key sequences filmed on 65 mm, and aerial sequences
Inception
Motion picture film format
directly in the anamorphic format. Because part of the Super 35 image is thrown away when printing to this format, films originated with anamorphic lenses use
Super_35
American filmmaker (born 1948)
proponent of Panavision anamorphic cinematography. With some exceptions, all of his films were shot in Panavision anamorphic format with a 2.39:1 aspect
John_Carpenter
2014 film by Marc Webb
2013 and ended on June 25. The film was shot on 35mm film in the anamorphic format, instead of being shot digitally like the preceding film. It was the
The_Amazing_Spider-Man_2
Device for showing motion picture film
slightly different anamorphic technique using vertical expansion to the film rather than horizontal compression. Large format anamorphic processes included
Movie_projector
American cinematographer
various digital and film camera formats, with the result being a unanimous preference for the 35mm Panavision anamorphic format. Short film TV movies Academy
John_Schwartzman
2025 Indian film by Prithviraj Sukumaran
than the originally planned schedule. Empuraan was filmed using the anamorphic format with a 2.8:1 aspect ratio, ensuring visual consistency with the first
L2:_Empuraan
2023 film by Michael B. Jordan
on IMAX-certified Sony CineAlta Venice cameras and the Panavision anamorphic format, making this the first film in the series, and the first sports film
Creed_III
1960 film directed by John Sturges
Ireland. The film was shot by cinematographer Charles Lang in a 35 mm anamorphic format using Panavision lenses. Location shooting began on March 1, 1960
The_Magnificent_Seven
2003 film by Bryan Singer
(2002) as a visual influence. Though Sigel shot the first X-Men in anamorphic format, he opted to shoot X2 in Super 35. Sigel felt the recent improvements
X2_(film)
Width (21) to height (9) aspect ratio
designed to show films recorded in CinemaScope and equivalent modern anamorphic formats. The main benefit of this screen aspect ratio is a constant display
21:9_aspect_ratio
2011 film by Michael Bay
production was either completely computer-generated imagery or shot in the anamorphic format on 35 mm film. 35 mm film was used for scenes filmed in slow motion
Transformers: Dark of the Moon
Transformers:_Dark_of_the_Moon
Film by Panos Cosmatos
Production used the Arri Alexa camera, coupled with the Panavision anamorphic format, to achieve the film's old-school atmosphere. The filming faced scheduling
Mandy_(2018_film)
1987 film by John Carpenter
regular. The film was shot with wide-angle lenses, which combined with anamorphic format to create a lot of distortion. Carpenter wrote the screenplay but
Prince_of_Darkness_(film)
Electronic moving image
of the CCIR 601 digital video standard and the corresponding anamorphic widescreen formats. The 720 by 480 pixel raster uses thin pixels on a 4:3 aspect
Video
1995 epic historical war drama film by Mel Gibson
their military uniforms for medieval garb. The film was shot in the anamorphic format with Panavision C- and E-Series lenses. Gibson also later said that
Braveheart
2014 film directed by Wally Pfister
over digital cinematography, Pfister chose to shoot the film in the anamorphic format on 35mm film. Filming officially began in June 2013, and took place
Transcendence_(2014_film)
American filmmaker (born 1970)
cleaner appearance of digital formats. His projects are most commonly shot on 35 mm movie film, typically in the anamorphic format, particularly during collaborations
Paul_Thomas_Anderson
South African-American cinematographer (born 1958)
his preference for shooting on film and implementing the Panavision anamorphic format, Mindel's work is mostly based on blockbuster action films, and had
Dan_Mindel
2001 American film by Richard Kelly
stage. The film was shot with a Panavision Panastar camera and in anamorphic format, which involves filming in widescreen onto standard 35 mm film. Despite
Donnie_Darko
2003 American heist action film by F. Gary Gray
first experience using the Super 35 format since Paramount preferred that the film not be shot in the anamorphic format, despite Pfister's wishes to do so
The_Italian_Job_(2003_film)
1997 film by Robert Zemeckis
Cinematographer Don Burgess shot the film in anamorphic format using Panavision cameras, as well as using large-format 65 mm and VistaVision for visual and special
Contact_(1997_American_film)
1999 film by Renny Harlin
Warner Home Video. Special features include the film in a 2.35:1 anamorphic format, two behind-the-scene featurettes, five deleted scenes with extended
Deep_Blue_Sea_(1999_film)
Film by Danny Boyle
for their roles. Cinematographer Alwin H. Küchler chose to film in anamorphic format to capture a physical sense of the light. "We shot certain sequences
Sunshine_(2007_film)
2012 American film by Jeff Nichols
there." The film was shot on Kodak VISION3 35 mm film stocks in the anamorphic format with Panavision G-Series lenses. Matthew McConaughey prepared for
Mud_(2012_film)
Marvel Studios film
using lights with strong diffusion to create the same effect. An anamorphic format was chosen to highlight the expansive movements and landscapes in
Black_Widow_(2021_film)
2012 film by Quentin Tarantino
outside of New Orleans, in March 2012. The film was shot in the anamorphic format on 35 mm film. Although originally scripted, a sub-plot centering
Django_Unchained
2021 film by Wes Anderson
that inspired The French Dispatch. Occasional scenes were shot in anamorphic format "mainly to make a bold dramatic statement", according to Yeoman. French
The_French_Dispatch
1989 film by Oliver Stone
fifth collaboration with Stone, and their first to be shot in the anamorphic format. Richardson shot the film using Panavision cameras and lenses, and
Born on the Fourth of July (film)
Born_on_the_Fourth_of_July_(film)
2022 film by Dan Trachtenberg
the Predator on the set. Cinematographer Jeff Cutter filmed in the anamorphic format to better depict the vast locations, using a relatively naturalistic
Prey_(2022_film)
is an index of brand-related list articles on Wikipedia. List of anamorphic format trade names List of automotive fuel brands List of bottle types, brands
Lists_of_brands
British 2010 television adaptation of Christopher Reid's poem
co-production between the BBC and Masterpiece, it was filmed in the anamorphic format 2.35:1 aspect ratio. Thompson received an Emmy Award nomination (Outstanding
The_Song_of_Lunch
2012 American film by Wes Anderson
16mm with a 1.85:1 aspect ratio, as opposed to Anderson's usual 35mm anamorphic format, using Aaton Xterà and A-Minima cameras. Anderson said the Aaton cameras
Moonrise_Kingdom
Motion picture film format
commonly accepted 35 mm format to 65 mm film would provide viewing audiences with an enhanced visual experience, compared to an anamorphic widescreen image.
Super_Panavision_70
2015 film by J. J. Abrams
scenes shot on 35mm film, the production had Panavision construct new anamorphic format lenses which were intended to replicate the look of the lenses used
Star_Wars:_The_Force_Awakens
James Bond signature device
Thunderball, the aspect ratio of the films was changed to a Panavision anamorphic format and so the gun barrel sequence had to be reshot, this time with Sean
Gun_barrel_sequence
2011 film by Matthew Vaughn
move, not just throwing it around and whizz-bang", and using the anamorphic format "to create a widescreen experience, which is emblematic of '60s movies
X-Men:_First_Class
Unused space between two film frames
approximately 8 mm (0.3 in) high, whereas both a full frame negative and the anamorphic format have very narrow frame lines, with the frames very close together
Frame_line
2009 Indian film by S. S. Rajamouli
stadium and City with Adili. The majority of the film was shot in anamorphic format, but a Super 35 camera gate and lens were used for the stadium episode
Magadheera
1982 film directed by John Carpenter
film's shots replicate the image layout. Cundey pushed for the use of anamorphic format aspect ratio, believing that it allowed for placing several actors
The_Thing_(1982_film)
Ratio between a display's width and height
ultrawide displays with aspect ratios that roughly match the various anamorphic formats used in film, but are commonly marketed as 21:9. Resolutions for such
Display_aspect_ratio
1981 film by Noel Marshall
film was released in November 2015 by Olive Films for Blu-ray in anamorphic format. The Blu-ray bonus features included audio commentary by John Marshall
Roar_(film)
2013 film by Gore Verbinski
Santa Anita Racetrack, Arcadia, California. The film was shot in the anamorphic format, with cinematographer Bojan Bazelli using Panavision C- and G-Series
The_Lone_Ranger_(2013_film)
2008 film by Clint Eastwood
favor of casting the murders in shadow. Stern shot Changeling in anamorphic format on 35mm film using Kodak Vision 500T 5279 film stock. The film was
Changeling_(film)
2013 American crime thriller drama film by Scott Cooper
Swissvale. Cinematographer Masanobu Takayanagi shot the feature in anamorphic format on Kodak 35mm film. Prison scenes were filmed in the Northern Panhandle
Out_of_the_Furnace
2009 film by Kevin Macdonald
distinct visual styles: scenes featuring the media were shot in the anamorphic format on 35mm film, while scenes focusing on the world of politics were
State_of_Play_(film)
1998 film by Sam Raimi
Kivilo originally wanted to shoot the film in widescreen using the anamorphic format, but decided against it due to the lack of lenses available and the
A_Simple_Plan_(film)
2018 film by Marc Forster
Pinewood Studios. The film was shot in a mix of formats: some scenes were shot in the Panavision anamorphic format on both 35 mm film and Arri Alexa digital
Christopher_Robin_(film)
1970 film by Cy Howard
6, 2004 in full-screen format. The film was released on Blu-ray by KL Studio Classics on March 19, 2019 in anamorphic format with an HD master from a
Lovers_and_Other_Strangers
1968 film by Stanley Kubrick
another 36 in June. The general release of the film in its 35 mm anamorphic format took place in autumn 1968 and used either a four-track magnetic stereo
2001:_A_Space_Odyssey
Film by Matthijs van Heijningen Jr.
true", Carpenter stated in the interview. The film was shot in the anamorphic format on 35mm film, as the director dislikes the look of films shot digitally
The_Thing_(2011_film)
1973 film by James Bridges
$25 per diem by 20th Century Fox. Willis shot The Paper Chase in anamorphic format due to the "schoolroom and the graphics in the film." He also commented
The_Paper_Chase_(film)
American filmmaker (born 1949)
100 speaking roles and thousands of extras. It was shot on film in anamorphic format by Owen Roizman, the cinematographer on The French Connection. "It's
Lawrence_Kasdan
2008 film by Mike Leigh
Happy-Go-Lucky is Mike Leigh's first film shot in the 2.35:1 aspect ratio anamorphic format. It was made and distributed with the assistance of National Lottery
Happy-Go-Lucky_(2008_film)
Art of motion picture photography
vertical as standard "spherical" lenses. The first commonly used anamorphic format was CinemaScope, which used a 2.35 aspect ratio, although it was originally
Cinematography
1991 film directed by Nicholas Meyer
and September 27, 1991. The film was shot in Super 35 instead of anamorphic format, because of the former's greater flexibility in framing and lens selection
Star Trek VI: The Undiscovered Country
Star_Trek_VI:_The_Undiscovered_Country
Group of American animated television series
to change the "lensing style" of the animation to the wide-screen anamorphic format used by many live-action films, including Lucasfilm's first production
Star Wars Tales (TV anthology)
Star_Wars_Tales_(TV_anthology)
2012 American film by Andrew Stanton
which Disney agreed to a reshoot. The film was shot in the Panavision anamorphic format on Kodak 35 mm film stock. "I try very hard to persuade whomever I'm
John_Carter_(film)
Film by J. J. Abrams
pass the Kobayashi Maru test. Abrams chose to shoot the film in the anamorphic format on 35mm film after discussions about whether the film should be shot
Star_Trek_(2009_film)
List of the first achievements in cinema
to be filmed in the widescreen format. To Build a Fire by Claude Autant-Lara is the first film shot in anamorphic format. Lights of New York, directed
List_of_cinematic_firsts
American film director, screenwriter, and cinematographer
and Hanna. Eubank decided to shoot the film in 2.39:1 theatrical anamorphic format, saying: "No other ratio allows you to stare right into an actor’s
William_Eubank
2004 biographical musical drama film by Kevin Spacey
Ray. On June 7, 2005, the film was released on DVD in widescreen anamorphic format for Region 1 markets. It features two Dolby Digital English audio
Beyond_the_Sea_(2004_film)
2000 film by Noroi Tsuruta
format. The 2003 Madman/Eastern Eye release presented the film in the 1.78:1 anamorphic widescreen format instead of the original 1.85:1 anamorphic format
Ring_0:_Birthday
2011 film directed by Simon Curtis
standard anamorphic format as it is "very good for personal stories" and suited the film. He added that it is easy to frame two actors, but the format is not
My_Week_with_Marilyn
2014 Indian film by Ali Abbas Zafar
on DVDs on 30 April 2014 across all regions in a two-disc pack in Anamorphic format, with bonus content such as a "making of the film" documentary, deleted
Gunday
dialogue scenes to be played out without changes in camera position. anamorphic format 1. The technique of shooting a widescreen picture on visual recording
Glossary of motion picture terms
Glossary_of_motion_picture_terms
This radial indexing is of particular importance when shooting an anamorphic format (CinemaScope or Panavision, or equivalent). The mount is locked into
BNCR_mount
2016 film by Jeff Nichols
was the lens' sweet spot. They are so awesome." Of the anamorphic format, Stone stated, "Anamorphic is how we shot Shotgun Stories (2007), it's how we shot
Loving_(2016_film)
1st episode of the 1st season of The Walking Dead
Fairlie–Poplar District. The season premiere was shot completely in anamorphic format on 16 mm film. David Tattersall was the director of photography, while
Days Gone Bye (The Walking Dead)
Days_Gone_Bye_(The_Walking_Dead)
1961 film by Richard Donner
example. Only the USAF crash scene footage retains the Panavision anamorphic format, although careful review shows that the aircraft involved is not the
X-15_(film)
65 mm motion picture widescreen process
Panavision's anamorphic movie camera lenses on 65 mm film. Ultra Panavision 70 and MGM Camera 65 were shot at 24 frames per second (fps) using anamorphic camera
Ultra_Panavision_70
Anamorphic motion picture format
one of its peer technologies. It utilized anamorphic lenses provided by the Kowa company. This widescreen format was first used for the black-and-white films
TohoScope
Motion picture camera film format
motion-picture film format. It was created and designed by engineers at Paramount Pictures in 1954. Paramount did not use anamorphic processes such as CinemaScope
VistaVision
Large-screen film format
camera equipped with a fisheye lens that squeezes a highly distorted anamorphic 180° field of view onto the 65 mm IMAX film. The lens is aligned below
IMAX
1970 film by Denis Sanders
The film was ultimately shot with eight Panavision cameras, in 35mm anamorphic format. Although most of the footage takes place onstage at the International
Elvis:_That's_the_Way_It_Is
Universal film format
there are anamorphic lenses. 3-perf also results in a quieter camera than 4-perf as there is less intermittent movement per frame. The format also calls
Univisium
Television station in Atlanta
widescreen. The 704×480i anamorphic format is unusual, as most standard definition digital channels use a fullscreen 640×480i format (by comparison, widescreen
WAGA-TV
Topics referred to by the same term
Intel Xeon CPUs E-Series, a line of Panavision lenses for shooting in anamorphic format HP E series, a series of digital cameras Nokia Eseries, Nokia business-oriented
E_series
2005 film by Wim Wenders
Kennedy are all winners of Academy Awards. The film was shot in 35mm anamorphic format by Franz Lustig using Hawk lenses. He and Wenders emphasized the influence
Don't_Come_Knocking
1974 Japanese film
Japanese language with non-removable English subtitles and in a non-anamorphic widescreen format. This version of the film was re-released on May 10, 2005. Image
Wife_to_Be_Sacrificed
Wide-angle photographic view of a scene
Gursky frequently employs digital stitching in his large-format panoramic imagery. Anamorphic format Cinerama Hemispherical photography Panorama portraits
Panoramic_photography
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