![]() ![]() The second attribute is again created by the squeeze process and concerns the unfocused light and flares. Firstly because the ‘squeeze’ is twice the horizontal, it means that the image is twice as wide so to achieve a similar size shot on a spherical lens the anamorphic will need to be double the focal length- so a 50mm shot spherical will be matched in horizontal size by a 100mm anamorphic-with the consequence of half the depth of field and a flatter perspective. There are two main optical characteristics that combine with the widescreen ratio to endow an anamorphic image with its creative attributes. The more familiar sounding ratios of 2.39:1 and 2.35:1 are basically derived from the days when magnetic tape was stripped down the side of print film for soundtrack and so the picture element was offset and reduced slightly to accommodate this. When used on a 4:3 (12:9) ratio sensor, the 2x squeezing of the horizontal information is therefore applying an actual ratio of 8:3 (24:9) when un-squeezed on projection, giving the full widescreen ratio ( when 8 is divided by 3 or 24 divided by 9) of 2.66:1. Anamorphic lenses were marginalised to some extent with the emergence of digital sensors until ARRI released the 4:3 sensor Alexa camera which had the correct sensor ratio to interface with the lenses. The process was designed to fulfil the movie industries’ desire to present audiences with a spectacle and to get bums on seats by showing big widescreen films to fight off the emerging TV market. This is known as 2:1 or 2x squeeze-please note not an Aspect Ratio number just the degree of squeeze. ![]() Anamorphic ‘squeeze’ uses one or a series of elements to gather in twice as much horizontal light onto the width of the film (sensor). ![]()
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