German anamorphic lenses from 1963 with 2:1 squeeze, 40–200mm focal lengths and T2.8–T4. Known for distinctive oval bokehs and horizontal lens flares from cylindrical optics.
Optex Anamorphics operate with a system of cylindrical lenses that refract incoming light only in the horizontal direction. The standard compression is 2:1, which transforms a 4:3 aspect ratio into a 2.35:1 Cinemascope format. The lenses feature focal lengths between 40mm and 200mm and achieve apertures from T2.8 to T4. The optical design is based on four to six lens elements in an asymmetrical arrangement, with the characteristic oval bokeh circles and horizontal lens flares resulting from the cylindrical light refraction.
Optex introduced its first Anamorphic lenses in 1963, in response to the demand for more affordable alternatives to French Hypergonar systems. The Munich-based company originally developed the system for German productions that wanted to capitalize on the Cinemascope boom. In 1967, Optex expanded the series with tele-anamorphic lenses up to 200mm focal length. After being acquired by Panavision in 1971, production ceased, but the existing lenses continued to be used in European productions until the 1980s.
Edgar Reitz used Optex Anamorphics for parts of his "Heimat" trilogy to emphasize the landscape shots in the Hunsrück region. The lenses were preferably used in German crime films of the 1970s, as they offered an inexpensive way to realize the popular widescreen format. The characteristic look is evident in softer contrasts compared to modern anamorphic systems and pronounced breathing effects during focus pulls. The horizontal flares intensify particularly in night shots with point light sources.
Optex Anamorphics differ from Panavision systems in their more compact construction and lower light transmission. While modern anamorphic systems like Hawk V-Lite or Cooke Anamorphic offer sharper imaging performance, the Optex lenses produce a distinctive vintage look with characteristic edge softness. As an alternative to the rare originals, today's productions often use recreations from Bausch & Lomb or SLR Magic, which emulate the Optex look while offering modern coatings and better flare suppression.
Ich schätze die Optex Anamorphote für ihren organischen Look mit den weichen horizontalen Flares, muss aber mit der reduzierten Schärfeleistung an den Bildrändern arbeiten. Die Linsen neigen zu starkem Breathing, was ich bei Fokusfahrten einkalkulieren muss, dafür bekomme ich diesen unverwechselbaren 70er-Jahre-Charakter mit den ovalen Bokeh-Kreisen.
Diese Linsen geben mir die Möglichkeit, eine nostalgische Bildsprache zu entwickeln, die perfekt zu Period Pieces oder bewusst retro angelegten Stoffen passt. Der weiche, fast träumerische Look der Optex-Anamorphote unterstützt emotionale Erzählmomente und schafft eine intime Atmosphäre trotz des breiten Formats.
Originale Optex-Linsen sind heute Sammlerobjekte und entsprechend teuer in der Miete, bieten aber einen authentischen Vintage-Look, der digital schwer nachzustellen ist. Ich kalkuliere höhere Beleuchtungskosten wegen der geringeren Lichtstärke und mehr Zeit für Fokusfahrten wegen des Breathing-Effekts.
1. Zu welchem Department gehört „Optex Anamorphot"?
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