影视制作变形镜头中英文对照外文翻译文献

中英文对照外文翻译文献(文档含英文原文和中文翻译)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变形物镜第一次世界大战期间亨利.克里僧为了让坦克获得更广阔的视野发明了光学变形镜.这一光学设计被克里僧称为Hypergonar,它能够获得180度的视角.战争之后于1927年第一次被用于拍摄一个根据杰克.伦敦同名小说创作的短篇电影生火。1920年摄影和电影先驱利昂F.道格拉斯也在电影上应用变形物镜做出了特殊的贡献,然而与之后芬奇的发明却没有关系.宽银幕变形镜头没有被使用,直到1952年福克斯购买了该专利用于宽荧幕电影的发展.变形镜头式宽荧幕电影是19世纪九十年代为了与电视竞争使观众重回影院的众多宽屏技术中的一种。1953年公演的圣袍是第一个用变形镜头拍摄的类型电影。变形镜头的发展是为了得到更高的高宽比，也为了保证相机和投影仪的使用，也是为了最大化的展现画面的细节。现代变形物镜有一个2.40：1的格式，相片或者投影仪的宽是它的高的2.4倍。学院形式的35mm胶片电影的宽高比为1.27：1，这并不宽。在非变形物镜宽荧幕电影中的图面完全展开置于胶片上，但是实质上在投影机或者是打印图片时会被浪费一定比例的画面。为了充分使用竟可能多的胶片，并且使电影的细节尽可能多的被展现，变形物镜镜头在拍摄时将画面垂直拉住，使它充盈整个框架。直到十九世纪六十年代有三种变形方式被使用：反旋棱镜，结合内部全反射原理刻蚀镜面以及柱形透镜。无论哪种使用方法，这种变形镜头都使得画面好像被纵向拉长了。这种故意的畸变被转而用于投影仪，最终使得变形镜头由一个普通的球面透镜，再加上一个变形附件（或集成透镜元件）组成。变形元件工作在无限的焦距（所以它对主要的相机的焦点有很少或没有影响），但仍然使光场变形。当变形附件使用时，使用一个有不同焦距的球形透镜其比值为为1.85:1（一个足以产生一个充满图框的高是宽的二倍），然后变形附件水平挤压2x。专门的反变形附件相对很少为了扩展垂直空间图像使用在投影和相机镜头上（例如，早期的特艺拉玛系统上面提到的），所以（在普通的二倍变形镜头情况下）一个框架可能是已经充满了可用的胶片面积的二倍。由于需要用较大的胶片面积来记录同一张图片，照片质量提高了。当电影播放时，图片中的变形(垂直拉伸)必须被纠正.所以另一个镜头被用于,在投影中将画面，扩展回到正常的比例或（如在现过时的特艺拉玛宽荧幕系统）将恢复正常比例的几何图像。应该指出的是，图片是没有受到任何改变,在维度空间上始终是正交的.使用更宽的胶片录制电影,似乎是更容易的.但是，35毫米的电影已经在广泛使用，对电影制片人和参展商来说为相机或投影机加一款专用的镜头更经济更可行.而不是投资一种新的电影制式，以及与其配套的相机，投影仪，编辑设备等新艺拉玛宽荧幕电影是解决优质宽屏成像问题较早尝试，但变形宽银幕最终被证明是更可行。新艺拉玛宽荧幕优于变形变形物镜宽银幕电影，但由三个投影图像并排在同一个屏幕上的图像：混合在一起的边缘部分并不完美，它需要三台投影仪；一个6-perf-high框需要4倍于之前的胶片；三相机（最终只是一个相机带有三个镜头和三股电影胶片，随从机械，它随之产生的一些问题）。然而，这种新式受到观众的巨大欢迎刺激工作室早在1950年就进行了宽银屏幕的改进。一部分电影被分配了用变形物镜宽银幕形式在一些专门影院放映。由于其类似的高宽比（宽为2.59），没有新艺拉玛宽荧幕复杂和高成本的缺点,对制片厂很有吸引力.在今天使用的常见的变形宽银幕电影格式是俗称的'Scope'或2.35:1（后者是习惯约定）。Filmedin

\o"Panavision"Panavision是在使用Panavision的变形镜头拍摄电影时的一种合约规定的短语叫法。所有这些词组的意思是一样的：最后的打印使用2:1的变形投影镜头，准确的扩大图像使水平方向是垂直方向的两倍。这种格式基本上和宽银幕电影是相同的，除了一些技术的发展，如拍摄特写镜头没有任何面部变形的能力。（宽银幕的电影很少使用完整的面部特写，因为一种被称为“CinemaScopemumps”，他们走近相机时使面孔扭曲）.使用变形镜头时有些神器可以实现，而使用普通球面透镜时将不会达到目的。一种镜头有很长的水平线通常有一个蓝色的色调，当有亮光时绝大多数时候是可见的，例如汽车大灯，是有深色的场景的框架结构。这个神器并不总是被认为是一个问题。这是和某个特定电影有关，其实有时候没有使用变形镜头拍摄而是使用一个特殊效果滤镜模拟。变形镜头的另一个方面是，在镜头的反射光将将通过椭圆形的镜头而不是圆的，因为他们在球形摄影。另外，广角镜头的变形小于40毫米焦距产生圆柱透视，一些导演和摄影师，特别是韦斯安德森，作为一种特定标志。变形镜头的另一个特点是，从离焦的元素趋于模糊的更加垂直。一个,背景光的焦点（称为散景[3]）会出现一个垂直的椭圆形而不是圆形。当相机转移焦点时，通常会有一个明显的效果，其中的元素在聚焦时向垂直方向伸展。然而，通常被声