影視制作變形鏡頭中英文對照外文翻譯文獻

中英文對照外文翻譯文獻(文檔含英文原文和中文翻譯)AnamorphicformatAnamorphicformat

isthe

\o"Cinematography"cinematography

techniqueofshootinga

\o"Widescreen"widescreen

pictureonstandard

\o"35mmfilm"35mmfilm

orothervisualrecordingmediawithanon-widescreennative

\o"Aspectratio(image)"aspectratio.Italsoreferstotheprojectionformatinwhichadistortedimageis"stretched"byananamorphicprojectionlenstorecreatetheoriginalaspectratioontheviewingscreen.(Itshouldnotbeconfusedwith

\o"Anamorphicwidescreen"anamorphicwidescreen,adifferentvideoencodingconceptthatusessimilarprinciplesbutdifferentmeans.)Theword"\o"Anamorphosis"anamorphic"anditsderivativesstemfromtheGreekwordsmeaning

formedagain.Asacameraformat,anamorphicformatislosingpopularityincomparisonto"flat"(or"spherical")formatssuchas

\o"Super35mmfilm"Super35mmfilm

shotusingspherical

\o"Cameralens"lenses;however,becausemost

\o"Movieprojectors"movieprojectors

useanamorphicprojectionformat,sphericalformat

\o"Negative(photography)"negatives

arecommonlyconvertedintoanamorphic

\o"Releaseprint"prints

forprojection.Intheyearssincedigitalcinemacamerasbecamecommonplace,anamorphichasexperiencedaconsiderableresurgenceofpopularity,dueinlargeparttothehigherbaseISOsensitivityofdigitalsensorswhichallowsshootingatdeeperstopsHistoryTheprocessofanamorphosingopticswasdevelopedby

\o"HenriChrétien"HenriChrétien

during

\o"WorldWarI"WorldWarI

toprovideawideangleviewerformilitarytanks.TheopticalprocesswascalledHypergonarbyChrétienandwascapableofshowingafieldofviewof180degrees.Afterthewar,thetechnologywasfirstusedinacinematiccontextintheshortfilm

ConstruireunFeu

(\o"ToBuildaFire"ToBuildaFire,basedonthe1908

\o"JackLondon"JackLondon

storyofthesamename)in1927by

\o"ClaudeAutant-Lara"ClaudeAutant-Lara.[1]Inthe1920s,phonographandmotionpicturepioneer

\o"LeonDouglass"LeonF.Douglass

alsocreated

\o"Specialeffects"specialeffects

andanamorphic\o"Widescreen"widescreen

motionpicturecameras.However,howthisrelatestotheearlierFrenchinvention,andlaterdevelopment,isunclear.[2]Anamorphicwidescreenwasnotusedagainforcinematographyuntil1952when

\o"TwentiethCentury-Fox"TwentiethCentury-Fox

boughttherightstothetechniquetocreateits

\o"CinemaScope"CinemaScope

widescreentechnique.[1]

CinemaScopewasoneofmanywidescreenformatsdevelopedinthe1950stocompetewiththepopularityoftelevisionandbringaudiencesbacktothecinemas.

\o"TheRobe(film)"TheRobe,whichpremieredin1953,wasthefirstfeaturefilmreleasedthatwasfilmedwithananamorphiclens.DevelopmentThedevelopmentofanamorphicwidescreenaroseduetoadesireforwider

\o"Aspectratio(image)"aspectratios

whilemaintainingtheuseofstandard(4perf/frame)camerasandprojectors,andmaximisingoverallimagedetail.Themodernanamorphicformathasanaspectratioof2.40:1,meaningthe(projected)picturewidthis2.40timesitsheight,(technicallyitis2.39:1,butitisknownprofessionallyas2.40:1or"two-four-oh").

\o"Academyformat"Academyformat

\o"35mmfilm"35mmfilm

(standardnon-anamorphicfullframewith\o"Sound-on-film"soundtracks

intheimagearea)hasanaspectratioof1.37:1,whichisnotaswide(or,equivalently,istaller).Innon-anamorphicspherical("flat")widescreenimaging,thepictureisrecordedonfilmsothatitsfullwidthfitswithinthefilmframe,butsubstantialfilmframeareaiswastedonportionsthatwillbemattedoutbythetimeofprojection,eitherontheprintorintheprojector,inordertocreateawidescreenimageinthetheater(Figure1).Tomakefulluseoftheavailablefilm,therebyincreasingoverallimagedetail,ananamorphiclensisusedduringphotographytostretchtheimageverticallytofillthefull(4perf)frame.Uptotheearly1960s,threemajormethodsofanamorphosingtheimagewereused:counter-rotatedprisms(e.g.,

UltraPanavision),curvedmirrorsincombinationwiththeprincipleof

\o"TotalInternalReflection"TotalInternalReflection

(e.g.,

\o"Technirama"Technirama),and

\o"Cylindricallens"cylindricallenses

(lensescurved,andhencesqueezingthescenebeingphotographed,inonlyonedirection,asperacylinder,e.g.,theoriginal

CinemaScope

systembasedon

\o"HenriChrétien"HenriChrétien's

design).Whateverthemethodused,theanamorphic

\o"Photographiclens"lens

leavestheimageonfilmlookingasifithadbeenstretchedvertically.Thisdeliberategeometricdistortionisthenreverseduponprojection,resultinginawideraspectratioon-screenthanthatoftheframeasrecordedonfilm.Ananamorphiclensconsistsofaregularsphericallens,plusananamorphicattachment(orintegratedlenselement)thatdoestheanamorphosing.Theanamorphicelementoperatesatinfinitefocallength(sothatithaslittleornoeffectonthefocusoftheprimecameralensontowhichitismounted),butstillneverthelessanamorphosestheopticalfield.Whenananamorphicattachmentisused,oneusesasphericallensofadifferentfocallengththanonewouldfor1.85:1(onesufficienttoproduceanimagethefullheightoftheframeandtwicethewidth),andthentheanamorphicattachmentsqueezes2xhorizontally.Specializedreverseanamorphicattachmentsexistedthatwererelativelyrarelyusedonprojectionandcameralensestoexpandtheimageintheverticalspace(e.g.,theearlyTechniramasystemmentionedabove),sothat(inthecaseofthecommontwo-timesanamorphiclens)aframetwiceashighasitmighthavebeenfilledtheavailablefilmarea.Sincealargerfilmareaneededtobeusedinordertorecordthesamepicture,thequalitywasincreased.Thedistortion(verticalstretching)introducedinthepicturemustbecorrectedwhenthefilmisplayedback,soanotherlensisusedduringprojectionthateitherexpandsthepicturebacktoitscorrectproportionsor(asinthecaseofthenowdefunct

\o"Technirama"Technirama

system)squeezestheimageverticallytorestorenormalgeometry.Itshouldbenotedthatthepictureisnotmanipulatedinanywayinthedimensionthatis

\o"Orthogonal"orthogonal

totheoneanamorphosed.Itmayseemthatitwouldbeeasiertosimplyuseawiderfilmforrecordingmovies;however,35

mmfilmwasalreadyinwidespreaduse,anditwasmoreeconomicallyfeasibleforfilmproducersandexhibitorstosimplyattachaspeciallenstothecameraorprojector,ratherthaninvestinginanewfilmformat,alongwiththeattendantcameras,projectors,editingequipmentandsoforth.\o"Cinerama"Cinerama

wasanearlierattempttosolvetheproblemofhigh-qualitywidescreenimaging,butanamorphicwidescreeneventuallyprovedtobemorepracticable.Cineramaprecededanamorphicfilms,butconsistedofthreeprojectedimagesside-by-sideonthesamescreen:theimagesneverblendedtogetherperfectlyattheedges,anditrequiredthreeprojectors;a6-perf-highframe,whichrequiredfourtimesasmuchfilm;andthreecameras(eventuallyjustonecamerawiththreelensesandthreestreamingreelsoffilmandtheattendantmachinery,whichpresented

\o"Synchronization"synchronization

problems).Nonetheless,theformatwaspopularenoughwithaudiencestospurstudiostothewidescreendevelopmentsoftheearly1950s.AfewfilmsweredistributedinCineramaformatandshowninspecialtheaters.Anamorphicwidescreenwasattractivetostudiosbecauseofitssimilarhighaspectratio(Cineramawas2.59),withoutthedisadvantagesofCinerama'saddedcomplexitiesandcosts.Thecommonanamorphicwidescreenfilmformatinusetodayiscommonlycalled'Scope'or2.35:1(thelatterbeingamisnomerbornofoldhabit;see"2.35,2.39or2.40?"below).

Filmedin

\o"Panavision"Panavision

isaphrasecontractuallyrequiredforfilmsshotusingPanavision'sanamorphiclenses.Allofthesephrasesmeanthesamething:thefinalprintusesa2:1anamorphicprojectorlensthatexpandstheimagebyexactlytwicetheamounthorizontallyasvertically.ThisformatisessentiallythesameasthatofCinemaScope,exceptforsometechnicaldevelopments,suchastheabilitytoshootcloseupswithoutanyfacialdistortion.(CinemaScopefilmsseldomusedfullfacialcloseups,becauseofaconditionknownas"CinemaScopemumps",whichmadefacesappeardistortedastheygotclosertothecamera.)Thereare

\o"Artifact(observational)"artifacts

thatcanoccurwhenusingananamorphiccameralensthatdonotoccurwhenusinganordinarysphericallens.Oneisakindof

\o"Lensflare"lensflarethathasalonghorizontallineusuallywithabluetintandismostoftenvisiblewhenthereisabrightlight,suchasfromcarheadlights,intheframewithanotherwisedarkscene.Thisartifactisnotalwaysconsideredtobeaproblem.Ithascometobeassociatedwithacertaincinematiclookandisinfactsometimesemulatedusinga

\o"Specialeffect"specialeffect

filterinscenesthatwerenotshotusingananamorphiclens.Anothercommonaspectofanamorphiclensesisthatlightreflectionsinthelenswillbeellipticalratherthanround,astheyareinsphericalcinematography.Additionally,wideangleanamorphiclensesoflessthan40

mmfocallengthproducea

\o"Cylindricalperspective"cylindricalperspective,whichsomedirectorsandcinematographers,particularly

\o"WesAnderson"WesAnderson,useasastylistictrademark.Anothercharacteristicofanamorphiccameralensesisthatout-of-focuselementstendtobeblurredmorevertically.Anout-of-focuspointoflightinthebackground(called

\o"Bokeh"bokeh[3])willappearasaverticalovalratherthanacircle.Whenthecamerashiftsfocus,thereisoftenanoticeableeffectwhereelementsappeartostretchverticallywhengoingoutoffocus.However,thecommonlycitedclaimthatanamorphiclensesproduceashallowerdepthoffieldisnotentirelytrue.Becauseofthecylindricalelementinthelens,anamorphiclensestakeinahorizontalangleofviewtwiceaswideasasphericallensofthesamefocallength.Becauseofthis,cinematographerswilloftenusea50

mmanamorphiclenswhentheywouldotherwiseusea25

mmsphericallens,a70

mmratherthana35

mm,andsoon.Athirdcharacteristic,particularlyofsimpleanamorphicadd-onattachmentstoprimelenses,is"anamorphicmumps".Forreasonsofpracticaloptics,theanamorphicsqueezeisnotuniformacrosstheimagefieldinanysystem,whethercylindrical,prismaticormirror-based.Thisvariationresultedinsomeareasofthefilmimageappearingmorestretchedthanothers.Inthecaseofanactor'sfaceinthecenterofthescreentheirfaceslooksomewhatliketheyhadthe\o"Mumps"mumps,hencethenameforthephenomenon.Conversely,attheedgesofthescreenactorsinfulllengthviewcanbecomeskinny-looking.Inmediumshots,iftheywalkacrossthescreenfromonesidetotheother,theyincreaseinapparentgirth.EarlyCinemaScopepresentationsinparticular(using

\o"HenriChrétien"Chrétien's

off-the-shelflenses)sufferedfromit.Thefirstcompanytoproduceananti-mumpssystemwasPanavisioninthelate1950s.Panavisionusedasecondadd-onadapterlensthatwaslinkedtothefocuspositionoftheprimelens.Thischangedtheanamorphicratioalongwithfocusposition,whichresultedintheareaofintereston-screenhavinganormal-lookinggeometry.Latercylindricallenssystemsusedtwosetsofanamorphicopticstoachievetherequiredchangeinaspectratio:onemorerobust"squeeze"systemthatwascoupledwithaslightexpansionsub-system.Theexpansionsub-systemwascounter-rotatedinrelationtothemainsqueezesystem,allinmechanicalinterlinkagewiththefocusmechanismoftheprimelens.Thiscombinationchangedtheanamorphicratioandminimizedtheeffectofanamorphicmumpsintheareaofinterestintheframe.Thoughthesetechniqueswereregardedasafixfortheanamorphicmumps,theywereacompromise.Cinematographersstillneededtobecarefulwiththeirframingofthescenesothateffectsofthechangeinaspectratiowerenotreadilyapparent.Whiletheanamorphicscopewidescreenformatisstillinuseasacameraformat,ithasbeenlosingpopularityinfavorof"flatformats",mainly

\o"Super35mmfilm"Super35mmfilm.(InSuper35,thefilmisshotflatandcanthenbemattedandopticallyprintedasananamorphicreleaseprint.)Therecanbeseveralreasonsforthis:Ananamorphiclenscancreateartifactsordistortionsasdescribedabove.Ananamorphiclensismoreexpensivethanasphericallens.Ananamorphiclensis

\o"Filmspeed"slower

thanasphericallens,thusrequiringmorelightandmakesshootinglow-lightscenesmoredifficult.Becausetheanamorphic-scopecameraformatdoesnotpreserveanyoftheimageaboveandbelowthescopeframe,itmaynottransferaswelltonarroweraspectratios,suchas

\o"4:3"4:3

or

\o"16:9"16:9

forfullscreen

\o"Television"television.\o"Filmgrain"Filmgrain

islessofaconcernbecauseoftheavailabilityofhigher-qualityfilmstocksand

\o"Digitalintermediate"digitalintermediates,althoughtheanamorphicformatwillalwaysyieldhigherdefinitionthanthenon-anamorphicformat(providedtheanamorphicprojectionlens,whichistechnicallymoredemanding,isadequate)Anamorphicscopeasaprintedfilmformat,however,iswellestablishedasastandardforwidescreenprojection.Regardlessofthecameraformatsusedinfilming,thedistributedprintsofafilmwitha2.39:1theatricalaspectratiowillalwaysbeinanamorphicwidescreenformat.Thisisnotlikelytosoonchangebecausemovietheatersaroundtheworlddon'tneedtoinvestinspecialequipmenttoprojectthisformat;allthatisrequiredisananamorphicprojectionlens,whichhaslongbeenconsideredstandardequipment.Otherwidescreenfilmformats(commonly1.85:1and1.66:1)aresimplycroppedinverticalsizetoproducethewidescreeneffect,atechniqueknownasmaskingormatting.Thiscanoccureitherduringfilming,wheretheframingismaskedinthegate,orinthelab,whichcanopticallycreatea

\o"Matte(filmmaking)"matte

ontotheprints.EithermethodproducesaframesimilartothatinFigure1,andisknownasa

hardmatte.Manyfilmprintstodayhavenomatte,thoughthefilmisframedfortheintendedaspectratio;thisapproachiscalled

\o"Fullframe"full-frame

filming,sincemostspherical

\o"Negativepulldown"4-perf

camerasretainthesilentgate.Inthese,thefilmcapturesadditionalinformationthatismaskedoutduringprojectionusinganaperturemaskintheprojectorgate,andisknownassoftmatte.Thisapproachallowsfilmmakersthefreedomtoincludetheadditionalpictureinan

\o"Openmatte"openmatte

4:3transferofthefilmandavoid

\o"Panandscan"panandscan,byprotectingtheframefor4:3.2.35,2.39or2.40?

Onecommonmisconceptionabouttheanamorphicformatconcernstheactualwidthnumberoftheaspectratio,as

2.35,

2.39

or

2.4.Sincetheanamorphiclensesinvirtuallyall35

mmanamorphicsystemsprovidea2:1squeeze,onewouldlogicallyconcludethata1.375:1

\o"Academyratio"fullacademygate

wouldleadtoa2.75:1aspectratiowhenusedwithanamorphiclenses.Duetodifferencesinthecameragateapertureandprojectionaperturemasksizesforanamorphicfilms,however,theimagedimensionsusedforanamorphicfilmvaryfromflat(spherical)counterparts.Tocomplicatematters,the

\o"SMPTE"SMPTE

standardsfortheformathavevariedovertime;tofurthercomplicatethings,pre-1957printstookuptheopticalsoundtrackspaceoftheprint(insteadhavingmagneticsoundonthesides),whichmadefora2.55:1ratio.Theinitial

\o"SocietyofMotionPictureandTelevisionEngineers"SMPTE

definitionforanamorphicprojectionwithanopticalsoundtrackdowntheside(PH22.106-1957),issuedinDecember1957,standardizedtheprojectorapertureat0.839

×

0.715inches(21.3

×

18.2

mm)(aspectratio1.17:1).Theaspectratioforthisaperture,aftera2xunsqueeze,is2.3468…:1whichroundedtothecommonlyusedvalue

2.35:1.AnewdefinitionwasissuedinOctober1970(PH22.106-1971)whichspecifiedaslightlysmallerverticaldimensionof0.700

in.fortheprojectoraperturetohelpmakespliceslessnoticeabletofilmviewers.

\o"Negativepulldown"Four-perf

anamorphicprintsusemoreofthenegative'savailableframeareathananyothermodernformatwhichleaveslittleroomforsplices;asaconsequence,abrightlinewouldflashonscreenwhenasplicewasprojectedandtheaterprojectionistshadbeennarrowingtheverticalaperturetohidetheseflashesevenbeforeissuanceofPH22.106-1971.Thisnewprojectoraperturesize,0.838

×

0.700inches(21.3

×

17.8

mm),aspectratio1.1971…:1,madeforanun-squeezedratioof

2.39:1

(andcommonlyreferredtobytheroundedvalue2.40:1or2.4:1).Themostrecentrevision,fromAugust1993(SMPTE195-1993),slightlyalteredthedimensionssoastostandardizeacommonprojectionaperturewidth(0.825-inch,or

21.0

mm)forallformats,anamorphic(2.39:1)andflat(1.85:1).Theprojectionapertureheightwasalsoreducedby0.01"inthismodernspecificationto0.825

×

0.690inches(21.0

×

17.5

mm),aspectratio1.1956…:1(andcommonlyroundedto1.20:1),toretaintheun-squeezedratioof2.39:1.[4]

Thecamera'sapertureremainedthesame(2.35:1or2.55:1ifbefore1958),onlytheheightofthe"negativeassembly"spliceschangedand,consequently,theheightoftheframechanged.Anamorphicprintsarestilloftencalled'Scope'or2.35byprojectionists,cinematographers,andothersworkinginthefield,ifonlybyforceofhabit.2.39isinfactwhattheygenerallyarereferringto(unlessdiscussingfilmsusingtheprocessbetween1958and1970),whichisitselfusuallyroundedupto2.40(withafalseprecisionascomparedtothemathematicallycorrect2.4).Withtheexceptionofcertainspecialistandarchivistareas,generally2.35,2.39,and2.40meanthesametoprofessionals,whethertheythemselvesareevenawareofthechangesornot.LensmakersandcorporatetrademarksSeealso:

\o"Listofanamorphicformattradenames"ListofanamorphicformattradenamesTherearenumerouscompaniesthatareknownformanufacturinganamorphiclenses.Thefollowingarethewellknowninthefilmindustry:Origination\o"Panavision"Panavision

isthemostcommonsourceofanamorphiclenses,withlensseriesrangingfrom20mmtoa2,000mmanamorphictelescope.TheC-Series,whichistheoldestlensseries,aresmallandlightweight,whichmakesthemverypopularforsteadicams.Somecinematographerspreferthemtonewerlensesbecausetheyarelowerincontrast.TheE-Series,ofNikonglass,aresharperthantheC-Seriesandarebettercolor-matched.Theyarealsofaster,buttheminimumfocus-distanceoftheshorterfocallengthsisnotasclose.TheE135mm,andespeciallytheE180mm,aregreatclose-uplenseswiththeclosestminimumfocusofanylongPanavisionanamorphiclenses.TheSuper(High)Speedlenses(1976),alsobyNikon,arethefastestanamorphiclensesavailable,withT-stopsbetween1.4and1.8;thereisevenoneT1.150mm,but,likeallanamorphiclenses,theyneedtobestopped-downforgoodperformancebecausetheyarequitesoftlyfocusedwhenwideopen.ThePrimoandClose-FocusPrimoSeries(1989)arebasedonthesphericalPrimosandarethesharpestPanavisionanamorphiclensesavailable.Theyarecompletelycolor-matched,butalsoveryheavy:about5–7

\o"Kilogram"kilograms.TheG-Series(2007),Panavision'slatestanamorphiclensseries,performanceandsizecomparablewithE-Series,inlightweightandcompactsimilartoC-Series.\o"VantageFilm(pagedoesnotexist)"VantageFilm,designersandmanufacturersofHawklenses.TheentireHawklenssystemconsistsof50differentprimelensesand5zoomlenses,allofthemspecificallydevelopedandopticallycomputedbyVantageFilm.Hawklenseshavetheiranamorphicelementinthemiddleofthelens(notupfrontlikePanavision),whichmakesthemmoreflare-resistant.Thisdesignchoicealsomeansthatiftheydoflare,onedoesnotgetthetypicalhorizontalflares.TheC-Series,whichweredevelopedinthemid-1990s,arerelativelysmallandlightweight.TheV-Series(2001)andV-PlusSeries(2006)areanimprovementovertheC-Seriesasfarassharpness,contrast,barrel-distortionandclose-focusareconcerned.Thisincreasedopticalperformancemeansahigherweight,however(eachlensisaround4-5kilograms).Thereare14lensesinthisserieswhichgoesfrom25mmto250mm.TheV-Seriesalsohavetheclosestminimumfocusofanyanamorphiclensseriesavailableandassuchcanrivalsphericallenses.VantagealsooffersaseriesoflightweightlensescalledV-Lite.Theyare8verysmallanamorphiclenses(aboutthesizeofaCookeS4sphericallens),whichareidealforhandheldandSteadicamwhilealsogivinganopticalperformancecomparabletotheV-SeriesandV-Pluslenses.In2008VantageintroducedtheHawkV-Lite16,asetofnewlensesfor16

mmanamorphicproduction,aswellastheHawkV-Lite1.3xlenses,whichmakeitpossibletousenearlytheentireimageareaof

\o"Negativepulldown"3-perf

35mmfilmorthesensorareaofa16:9digitalcameraandatthesametimeprovidethepopular2.39:1releaseformat.\o"CarlZeissAG"CarlZeissAG

+

\o"ARRI"ARRI:MasterAnamorphicscomingoutin2013\o"CookeOptics"CookeOptics:\o"Angenieux"Angenieux:Angenieuxfirstzoomfor35mmfilmcamera,the35-140mm,wasequippedwithafrontanamorphicattachmentbuiltbyFranscope.The40-140anamorphicwasusedonseveralNouvelleVaguemoviessuchLola(1961)orJulesandJim(1962).PanavisionadaptedtheAngenieux10xzoomforanamorphicproductions.The50-500APZAwaspartofthestandardanamorphicproductionpackagesupportedbyPanavisionfrommid1960stotheendofthe1970's.IthasbeenusedinnumerousmoviesincludingTheGraduate(1967),MASH(1970),McCabeandMrsMiller(1971),DeathinVenice(1971)orJaws(1975).In2013and2014Angenieuxreleasedanewseriesofhighendanamorphiczooms.Theselenses,the30-72and56-152OptimoA2Sarecompactandweighslessthan2.5kg.\o"JoeDuntonCamera(pagedoesnotexist)"JoeDuntonCamera

(JDC):ManufacturerandrentalhousebasedinBritainandNorthCarolina,whichadaptssphericallensestoanamorphicbyaddingacylindricalelement.ItsmostpopularlensesareadaptedCookeS2/S3,buttheyhavealsoadaptedZeissSuperSpeedsandStandards,aswellasCanonlenses.JDCwaspurchasedbyPanavisionin2007.[5]\o"EliteOptics(pagedoesnotexist)"EliteOptics,manufacturedby

\o"JSCOptica-Elite(pagedoesnotexist)"JSCOptica-Elite

Companyin

\o"Russia"Russia

andsoldinthe

\o"UnitedStates"UnitedStates

bySlowMotionInc.\o"Technovision(pagedoesnotexist)"Technovision,aFrenchmanufacturerthat,likeJDC,hasadaptedsphericalCookeandZeisslensestoanamorphic.TechnovisionwaspurchasedbyPanavisionin2004.\o"Iscorama"IscoOptics,aGermancompanythatdevelopedthe

\o"Arriscope(lens)"Arriscope

linefor

\o"Arri"Arri

in1989.Projection\o"ISCOPrecisionOptics(pagedoesnotexist)"ISCOPrecisionOptics

isamanufactureroftheatricalcinemaprojectionlenses.\o"Panamorph(pagedoesnotexist)"Panamorph

isamanufacturerofhybridcylindrical/prismbasedprojectionlensesspecializedfortheconsumerhometheaterindustry.\o"SchneiderKreuznach"SchneiderKreuznach,(alsocalledCenturyOptics)makersofanamorphicprojectionlenses.Thecompanyalsomanufacturesadd-onanamorphicadaptorlensesthatcanbemountedondigitalvideocameras.References^

Jumpupto:a

b

Konigsberg,Ira.

TheCompleteFilmDictionary

Meridian.1987."Anamorphiclens"pp.11-12Jumpup^

MichaelSvanevikandShirleyBurgett,"Menlo’sMild-ManneredFilmWizard:MotionPictureInventorLeonDouglassDeservesHistoricalNiche",

PaloAltoDailyNews

(July5,2008)pp.6-7Jumpup^

Whyisanamorphicbokehoval?Jumpup^

Hart,Martin.(2000).Widescreenmuseum

"OfAperturesandAspectRatios"

RetrievedJuly8,2006.Jumpup^

"PanavisiontoAcquireCameraAssetsofJoeDunton&Company".

\o"PRNewswire"PRNewswire.August15,2007.RetrievedF變形物鏡第一次世界大戰(zhàn)期間亨利.克里僧為了讓坦克獲得更廣闊的視野發(fā)明了光學變形鏡.這一光學設計被克里僧稱為Hypergonar,它能夠獲得180度的視角.戰(zhàn)爭之后于1927年第一次被用于拍攝一個根據(jù)杰克.倫敦同名小說創(chuàng)作的短篇電影生火。1920年攝影和電影先驅(qū)利昂F.道格拉斯也在電影上應用變形物鏡做出了特殊的貢獻,然而與之后芬奇的發(fā)明卻沒有關(guān)系.寬銀幕變形鏡頭沒有被使用,直到1952年福克斯購買了該專利用于寬熒幕電影的發(fā)展.變形鏡頭式寬熒幕電影是19世紀九十年代為了與電視競爭使觀眾重回影院的眾多寬屏技術(shù)中的一種。1953年公演的圣袍是第一個用變形鏡頭拍攝的類型電影。變形鏡頭的發(fā)展是為了得到更高的高寬比，也為了保證相機和投影儀的使用，也是為了最大化的展現(xiàn)畫面的細節(jié)。現(xiàn)代變形物鏡有一個2.40：1的格式，相片或者投影儀的寬是它的高的2.4倍。學院形式的35mm膠片電影的寬高比為1.27：1，這并不寬。在非變形物鏡寬熒幕電影中的圖面完全展開置于膠片上，但是實質(zhì)上在投影機或者是打印圖片時會被浪費一定比例的畫面。為了充分使用竟可能多的膠片，并且使電影的細節(jié)盡可能多的被展現(xiàn)，變形物鏡鏡頭在拍攝時將畫面垂直拉住，使它充盈整個框架。直到十九世紀六十年代有三種變形方式被使用：反旋棱鏡，結(jié)合內(nèi)部全反射原理刻蝕鏡面以及柱形透鏡。無論哪種使用方法，這種變形鏡頭都使得畫面好像被縱向拉長了。這種故意的畸變被轉(zhuǎn)而用于投影儀，最終使得變形鏡頭由一個普通的球面透鏡，再加上一個變形附件（或集成透鏡元件）組成。變形元件工作在無限的焦距（所以它對主要的相機的焦點有很少或沒有影響），但仍然使光場變形。當變形附件使用時，使用一個有不同焦距的球形透鏡其比值為為1.85:1（一個足以產(chǎn)生一個充滿圖框的高是寬的二倍），然后變形附件水平擠壓2x。專門的反變形附件相對很少為了擴展垂直空間圖像使用在投影和相機鏡頭上（例如，早期的特藝拉瑪系統(tǒng)上面提到的），所以（在普通的二倍變形鏡頭情況下）一個框架可能是已經(jīng)充滿了可用的膠片面積的二倍。由于需要用較大的膠片面積來記錄同一張圖片，照片質(zhì)量提高了。當電影播放時，圖片中的變形(垂直拉伸)必須被糾正.所以另一個鏡頭被用于,在投影中將畫面，擴展回到正常的比例或（如在現(xiàn)過時的特藝拉瑪寬熒幕系統(tǒng)）將恢復正常比例的幾何圖像。應該指出的是，圖片是沒有受到任何改變,在維度空間上始終是正交的.使用更寬的膠片錄制電影,似乎是更容易的.但是，35毫米的電影已經(jīng)在廣泛使用，對電影制片人和參展商來說為相機或投影機加一款專用的鏡頭更經(jīng)濟更可行.而不是投資一種新的電影制式，以及與其配套的相機，投影儀，編輯設備等新藝拉瑪寬熒幕電影是解決優(yōu)質(zhì)寬屏成像問題較早嘗試，但變形寬銀幕最終被證明是更可行。新藝拉瑪寬熒幕優(yōu)于變形變形物鏡寬銀幕電影，但由三個投影圖像并排在同一個屏幕上的圖像：混合在一起的邊緣部分并不完美，它需要三臺投影儀；一個6-perf-high框需要4倍于之前的膠片；三相機（最終只是一個相機帶有三個鏡頭和三股電影膠片，隨從機械，它隨之產(chǎn)生的一些問題）。然而，這種新式受到觀眾的巨大歡迎刺激工作室早在1950年就進行了寬銀屏幕的改進。一部分電影被分配了用變形物鏡寬銀幕形式在一些專門影院放映。由于其類似的高寬比（寬為2.59），沒有新藝拉瑪寬熒幕復雜和高成本的缺點,對制片廠很有吸引力.在今天使用的常見的變形寬銀幕電影格式是俗稱的'Scope'或2.35:1（后者是習慣約定）。Filmedin

\o"Panavision"Panavision是在使用Panavision的變形鏡頭拍攝電影時的一種合約規(guī)定的短語叫法。所有這些詞組的意思是一樣的：最后的打印使用2:1的變形投影鏡頭，準確的擴大圖像使水平方向是垂直方向的兩倍。這種格式基本上和寬銀幕電影是相同的，除了一些技術(shù)的發(fā)展，如拍攝特寫鏡頭沒有任何面部變形的能力。（寬銀幕的電影很少使用完整的面部特寫，因為一種被稱為“CinemaScopemumps”，他們走近相機時使面孔扭曲）.使用變形鏡頭時有些神器可以實現(xiàn)，而使用普通球面透鏡時將不會達到目的。一種鏡頭有很長的水平線通常有一個藍色的色調(diào)，當有亮光時絕大多數(shù)時候是可見的，例如汽車大燈，是有深色的場景的框架結(jié)構(gòu)。這個神器并不總是被認為是一個問題。這是和某個特定電影有關(guān)，其實有時候沒有使用變形鏡頭拍攝而是使用一個特殊效果濾鏡模擬。變形鏡頭的另一個方面是，在鏡頭的反射光將將通過橢圓形的鏡頭而不是圓的，因為他們在球形攝影。另外，廣角鏡頭的變形小于40毫米焦距產(chǎn)生圓柱透視，一些導演和攝影師，特別是韋斯安德森，作為一種特定標志。變形鏡頭的另一個特點是，從離焦的元素趨于模糊的更加垂直。一個,背景光的焦點（稱為散景[3]）會出現(xiàn)一個垂直的橢圓形而不是圓形。當相機轉(zhuǎn)移焦點時，通常會有一個明顯的效果，其中的元素在聚焦時向垂直方向伸展。然而，通常被聲