Cinematographer
2x Anamorphoten sind die Könige des Widescreen-Looks. Die Flares, das Bokeh, die Tiefe – nichts anderes sieht so aus. Aber sie fordern Präzision bei Focus und Framing.
Classic full-squeeze anamorphic lens system – horizontally compresses image by factor of 2, creating the iconic CinemaScope look with extreme flares and oval bokeh.
What is Anamorphic 2x?
Anamorphic 2x refers to anamorphic lenses with a squeeze factor of 2 – they horizontally compress the image by half. After de-squeezing in post-production, an extremely wide image with the characteristic CinemaScope look is created.
The Math
| Calculation | Value |
|---|---|
| 4:3 Sensor (1.33:1) | × 2 = 2.66:1 |
| Open Gate (1.55:1) | × 2 = 3.10:1 |
| Typical Projection | 2.35:1 – 2.40:1 |
History
| Year | Event |
|---|---|
| 1927 | Henri Chrétien invents anamorphism |
| 1953 | Fox buys rights → CinemaScope |
| 1954 | "The Robe" – first CinemaScope film |
| 1950s | Panavision, Franscope, Tohoscope |
| Today | Standard for premium cinema productions |
Optical Characteristics
| Characteristic | Description |
|---|---|
| Horizontal Flares | Long, intense, characteristic |
| Bokeh | Strongly oval (2:1 ratio) |
| Breathing | Pronounced in older optics |
| Distortion | "Anamorphic mumps" in the center of the image |
| Focus Fall-off | Dramatic, cinematic |
Comparison: 2x vs. 1.33x
| Aspect | 2x | 1.33x |
|---|---|---|
| Squeeze | 200% | 133% |
| Flares | Extreme | Moderate |
| Bokeh | Strongly oval | Slightly oval |
| Sensor Mode | 4:3 or 6:5 | 16:9 |
| Character | Intense | Subtle |
Available Lenses (Selection)
| Manufacturer | Series | Character |
|---|---|---|
| Panavision | C, E, G, T | Classic warm |
| Cooke | Anamorphic/i | Modern, controlled |
| ARRI/Zeiss | Master Anamorphic | Clinically precise |
| Hawk | V-Lite, V-Plus | Versatile |
| Kowa | Prominar | Vintage |
| Lomo | Squarefront | Soviet character |
Sensor Modes for 2x
| Mode | Sensor Ratio | With 2x Squeeze |
|---|---|---|
| 4:3 | 1.33:1 | 2.66:1 |
| 6:5 | 1.20:1 | 2.40:1 |
| Open Gate | Varies | Varies |
Workflow
| Phase | Activity |
|---|---|
| Camera Setup | Activate 4:3 or 6:5 mode |
| Shooting | Shoot with 2x squeeze |
| On-Set Monitor | Activate 2x de-squeeze |
| Post-Production | Apply 2x de-anamorphosis |
| Delivery | 2.35:1 or 2.40:1 |
Challenges
| Problem | Solution |
|---|---|
| Close Focus | Diopters, focus puller experience |
| Breathing | Modern lenses, or as a feature |
| Flares | Matte box, or use intentionally |
| Distortion | Post-correction, or accept |
| Weight | Robust rigging |
Costs (approx.)
| Item | Price |
|---|---|
| Panavision Set | Only through Panavision |
| Cooke Anamorphic/i | €4,000–€8,000/day |
| Hawk V-Lite | €2,500–€5,000/day |
| Vintage Kowa/Lomo | €1,500–€3,000/day |
2x vs. Spherical
| Aspect | 2x Anamorphic | Spherical |
|---|---|---|
| Look | Unique | Neutral |
| Flares | Horizontal | Round |
| Bokeh | Oval | Round |
| Sharpness | Softer | Sharper |
| Price | Very high | Moderate |
Today
2x anamorphics remain the gold standard for epic cinema. Despite digital alternatives and post-effects, they create a look that is not truly replicable – the emotional impact of true anamorphic is unsurpassed.
From the crafts
Perspectives
Director
2x Anamorphic ist mein Traum-Format für epische Geschichten. Das extreme Breitbild zwingt zu durchdachter Komposition – jeder Frame wird zum Gemälde.
Producer
2x Anamorphoten sind Premium-Equipment mit entsprechenden Kosten. Aber für Kinofilme, die auf der großen Leinwand leben sollen, ist die Investition gerechtfertigt.
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