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64-464: Arri was founded in Munich, Germany on 12 September 1917 by August Arnold and Robert Richter as Arnold & Richter Cine Technik . The acronym Arri was derived from the initial two letters of the founders' surnames, Ar nold and Ri chter. In 1924, Arnold and Richter developed their first film camera, the small and portable Kinarri 35. In 1937, Arri introduced the world's first reflex mirror shutter in

128-495: A 2.55∶1 ratio ( ANSI PH22.104-1957 ). The initial SMPTE definition for anamorphic projection with an optical sound track down the side ANSI PH22.106-1957 was issued in December 1957. It standardized the projector aperture at 0.839 × 0.715 inches (21.31 × 18.16 mm), which gives an aspect ratio of c. 1.17∶1. The aspect ratio for this aperture, after a 2× unsqueeze, is 2.3468…∶1 (1678:715), which rounded to

192-580: A 35mm CMOS sensor (instead of CCD ) and allowed cinematographers to utilize standard 35mm lenses. This technology was further developed and improved for the Arri Alexa camera. Arri revealed its Arriscan prototype during IBC 2003. The 16mm/35mm film scanner worked alongside the Arrilaser to support the increasingly popular digital intermediate route through postproduction. Later, the Arriscan became

256-473: A considerable resurgence of popularity, due in large part to the higher base ISO sensitivity of digital sensors, which facilitates shooting at smaller apertures. The word anamorphic and its derivatives stem from the Greek anamorphoo ("to transform", or more precisely "to re-form"), compound of morphé ("form, shape") with the prefix aná ("back, again"). The process of anamorphosing optics

320-490: A digital step with no degradation of image quality. Also, 3-perf and 2-perf pose minor problems for visual effects work. The area of the film in 4-perf work that is cropped out in the anamorphosing process nonetheless contains picture information that is useful for such visual effects tasks as 2D and 3D tracking. This mildly complicates certain visual effects efforts for productions using 3-perf and 2-perf, making anamorphic prints struck digitally from center cropped 4-perf Super 35

384-434: A faux-film grain applied to the footage. One common misconception about the anamorphic format concerns the actual width number of the aspect ratio, as 2.35 , 2.39 or 2.40 . Since the anamorphic lenses in virtually all 35 mm anamorphic systems provide a 2:1 squeeze, one would logically conclude that a 1.375∶1 full academy gate would lead to a 2.75∶1 aspect ratio when used with anamorphic lenses. Due to differences in

448-407: A fix for anamorphic mumps, they were actually only a compromise. Cinematographers still had to frame scenes carefully to avoid the recognizable side-effects of the change in aspect ratio. Beginning in the 1990s, anamorphic began to lose popularity in favor of flat formats , mainly Super 35 . (In Super 35, the film is shot flat, then matted, and optically printed as an anamorphic release print.) This

512-421: A higher definition widescreen image for mastering). With the rise of digital cinematography, anamorphic photography has experienced something of a renaissance, as the higher light sensitivity (ISO) of digital sensors has lowered the lighting requirements that anamorphic lenses once demanded. Many vintage lens series, some of which saw little to no use for decades, have been sought by cinematographers wishing to add

576-453: A more classic, film-like quality to digital cinematography; and manufacturers such as Panavision and Vantage have produced modern lenses using vintage glass for this purpose. Emulation of anamorphic film has also been achieved in computer animation . One example of this is the animated series Star Wars: The Bad Batch by Lucasfilm Animation , which mimics the natural behavior of an anamorphic lens through simulated depth of field effects and

640-518: A reflex viewing system. In 1965, a self-blimped 16mm camera was released: the Arriflex 16BL. The Arriflex 35BL followed in 1972 as a lightweight, quiet alternative to the rather heavy and cumbersome blimped cameras of the time. Also in 1972, Arri pioneered the development of daylight luminaires with the Arrisonne 2000 W. The Arriflex 16SR , launched in 1975, featured a redesigned viewfinder with

704-493: A simple eccentric screw pull down mechanism. ARRI began importing this camera to the US in 1947. The Arriflex 35 became a commonly used camera among New Wave filmmakers. Introduced in 1953, the Arriflex 35 IIA featured a more robust steel film gate. It also used a 180° shutter made possible by a more efficient cardioid cam movement design. Released in 1958, this model reduced the shutter angle to 165° and added some improvements to

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768-671: A special head accommodating the handgrip motor, and providing a more compact profile for 'blimping'. It is still used extensively in motion pictures for sequences without synchronous sound - "motor only sync" - and unique camera movement, e.g. on Steadicam . It was widely used with 200 ft loads (the smaller 200 ft magazine was in production at that time) as a 'battlefield camera' for the German Wehrmacht during World War II for collecting battlefront intelligence, (e.g. for analyzing weapons effectiveness), for training films and for use in propaganda cinema films. The Arriflex 35

832-411: A through-the-lens light meter. The Arriflex 765 , a 65mm camera, was released in 1989, partly in response to the growing industry demand for 70mm release prints. The Arriflex 535 camera was released in 1990, followed by the Arriflex 535B and the Arriflex 16SR 3 in 1992. The Arriflex 435 was released in 1994. Arri partnered with Carl Zeiss AG in order to develop and manufacture advanced lenses for

896-463: A variable shutter. The mirror shutter allows the camera operator to see a viewfinder image equal to the recorded picture, without parallax, although there is noticeable image flicker in the viewfinder when the camera is running, caused by the two open exposure segments of the mirror shutter. The camera utilizes a three lens turret with three aluminum Arri lens mounts (later 35 IIC/B with one stainless steel bayonet mount and two aluminum Arri mounts), and

960-474: A widely used tool for film restoration work and was recognized with a Scientific and Engineering Academy Award in 2009. Arri released the Master Prime lenses in 2005, designed for a super-fast aperture of T1.3 without breathing and distortion. In 2007, the Master Prime 14mm and 150mm lenses were released. The Arrilaser 2 was released in 2009, with new client-server architecture and speeds twice as fast as

1024-620: A wider film for recording movies. However, since 35 mm film was already in widespread use, it was more economically feasible for film producers and exhibitors to simply attach a special lens to the camera and projector, rather than invest in an entirely new film format, which would require new cameras, projectors, editing equipment and so forth. Cinerama was an earlier attempt to solve the problem of high-quality widescreen imaging, but anamorphic widescreen eventually proved more practical. Cinerama (which had an aspect ratio of 2.59:1) consisted of three simultaneously projected images side by side on

1088-459: Is a kind of lens flare that has a long horizontal line, usually with a blue tint, and is most often visible when there is a bright light in the frame, such as from car headlights, in an otherwise dark scene. This artifact is not always considered a problem, and even has become associated with a certain cinematic look, and often emulated using a special effect filter in scenes shot with a non-anamorphic lens. Another common aspect of anamorphic lenses

1152-500: Is capable of frame rates up to 80 frames per second with an accessory speed unit. Film magazines are for 200 ft or 400 ft loads. The DC motor is mounted downwards as a handgrip. Later flat base DC motor mount units were developed e.g. by the Cine 60 company, allowing the camera to have a lower profile, where the motor is mounted on the side of the camera body vertically upwards, allowing the camera to be mounted on standard tripod heads without

1216-476: Is commonly called 'Scope' (a contraction of the early term CinemaScope ), or 2.35:1 (the latter being a misnomer born of old habit; see " Aspect ratio " section below). Filmed in Panavision is a phrase contractually required for films shot using Panavision's anamorphic lenses. All of these phrases mean the same thing: the final print uses a 2:1 anamorphic projector lens that expands the image by exactly twice

1280-541: Is still used in the Arri Alexa Studio digital camera. The first Hollywood film to employ an Arriflex was the 1947 Humphrey Bogart and Lauren Bacall film Dark Passage in 1947. Over the years, more than 17,000 Arriflex 35s were built. The design was recognized with two Scientific and Technical Academy Awards in 1966 and 1982. In 1952, Arri introduced the Arriflex 16ST , the first professional 16mm camera with

1344-448: Is that light reflections within the lens are elliptical, rather than round as in ordinary cinematography. Additionally, wide-angle anamorphic lenses of less than 40 mm focal length produce a cylindrical perspective , which some directors and cinematographers, particularly Wes Anderson , use as a stylistic trademark. Another characteristic of anamorphic lenses is that the cylindrical glass effectively creates two focal lengths within

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1408-436: Is then reversed on projection, resulting in a wider aspect ratio on-screen than that of the negative's frame. An anamorphic lens consists of a regular spherical lens, plus an anamorphic attachment (or an integrated lens element) that does the anamorphosing. The anamorphic element operates at infinite focal length, so that it has little or no effect on the focus of the primary lens it's mounted on but still anamorphoses (distorts)

1472-444: The Arriflex 35 camera, an invention of longtime engineer Erich Kästner . This technology employs a rotating mirror that allows a continuous motor to operate the camera while providing parallax -free reflex viewing to the operator, and the ability to focus the image by eye through the viewfinder, much like an SLR camera for photography. The reflex design was subsequently used in almost every professional motion picture film camera and

1536-478: The Nuremberg Trials .The original Arriflex 35 had three Arri standard mounts on a rotating turret. The viewfinder was a fixed tube on the camera door. It used both 200ft and 400ft magazines. The first American feature film made using a captured Arriflex 35 was Dark Passage by Delmer Daves. This model was released in 1946 and had three Arri standard mounts. It could also load 400ft magazines and had

1600-445: The 1920s, phonograph and motion picture pioneer Leon F. Douglass also created special effects and anamorphic widescreen motion picture cameras. However, how this relates to the earlier French invention, and later development, is unclear. Anamorphic widescreen was not used again for cinematography until 1952 when Twentieth Century-Fox bought the rights to the technique to create its CinemaScope widescreen technique. CinemaScope

1664-548: The Alexa Studio, allowed the full area of the sensor to be used with anamorphic lenses. The 16mm Arriflex 416 camera and Ultra Prime 16 lenses were used in the filming of the 2010 film Black Swan . Arri announced a strategic partnership with Zeiss and Fujinon in 2010 to create new lenses that incorporated enhanced electronic lens data transfer in order to simplify visual effects workflows in postproduction. The Arri/Fujinon Alura Zooms were released that same year, while

1728-638: The Arri/Zeiss Master Anamorphic lens series was released in 2012. In 2013, Arri created Arri Medical , a business unit that utilizes its camera technology for medical purposes. Apart from a medical imaging documentation service, it has developed a fully digital 3D surgical microscope called the Arriscope . The Arri Alexa 65, released in 2014, was used in the filming of The Revenant as well as Mission: Impossible – Rogue Nation and Star Wars: Rogue One . The Arri Amira camera

1792-486: The Arriflex 35 IIC on A Clockwork Orange . The Pan Arri 35 IIC had one Panavision compatible lens mount and was used for Star Wars: A New Hope . Some Arriflex 35 IIC were used until the 2010s, for example in Savages in 2012. The Arriflex 35 IIIC was released in 1982. It removed the turret and only featured a single PL mount, had a crystal sync handgrip motor with 12V and 5-50 fps, forward and reverse. This camera

1856-569: The Artemis camera stabilizer systems developed by Curt O. Schaller from Sachtler / Vitec Videocom. As a result, Arri became the exclusive seller of Artemis Trinity stabilizers. At NAB 2016, Arri unveiled its version of the Trinity system. In 2011, it was alleged that Michael Bravin, an executive of the US-based subsidiary Arri Inc., had unlawfully accessed a rival company email account. A suit

1920-507: The amount horizontally as vertically. This format is essentially the same as that of CinemaScope, except for some technical developments, such as the ability to shoot closeups without any facial distortion. (CinemaScope films seldom used full facial closeups, because of a condition known as CinemaScope mumps , which distorted faces as they got closer to the camera.) There are artifacts that can occur when using an anamorphic camera lens that do not occur when using an ordinary spherical lens. One

1984-489: The available area of the negative for only that portion of the image which will be projected, an anamorphic lens is used during photography to compress the image horizontally, thereby filling the full (4 perf) frame's area with the portion of the image that corresponds to the area projected in the non-anamorphic format. Up to the early 1960s, three major methods of anamorphosing the image were used: counter-rotated prisms (e.g. Ultra Panavision ), curved mirrors in combination with

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2048-468: The camera gate aperture and projection aperture mask sizes for anamorphic films, however, the image dimensions used for anamorphic film vary from flat (spherical) counterparts. To complicate matters, the SMPTE standards for the format have varied over time; to further complicate things, pre-1957 prints took up the optical soundtrack space of the print (instead having magnetic sound on the sides), which made for

2112-485: The case of an actor's face, when positioned in the center of the screen faces look somewhat like they have the mumps , hence the name for the phenomenon. Conversely, at the edges of the screen actors in full-length view can become skinny-looking. In medium shots, if the actor walks across the screen from one side to the other, he will increase in apparent girth. Early CinemaScope presentations in particular (using Chrétien's off-the-shelf lenses) suffered from this. Panavision

2176-450: The cinematographer must use a longer lens to obtain the same horizontal coverage. A third characteristic, particularly of simple anamorphic add-on attachments, is "anamorphic mumps". For reasons of practical optics, the anamorphic squeeze is not uniform across the image field in any anamorphic system (whether cylindrical, prismatic or mirror-based). This variation results in some areas of the film image appearing more stretched than others. In

2240-501: The commonly used value 2.35∶1 . A new definition issued in June 1971 as ANSI PH22.106-1971 . It specified a slightly smaller vertical dimension of 0.700 inches (17.78 mm) for the projector aperture (and a nearly identical horizontal dimension of 0.838 inches (21.29 mm)), to help make splices less noticeable to film viewers. After unsqueezing, this would yield an aspect ratio of c. 2.397∶1. Four-perf anamorphic prints use more of

2304-423: The cropping and anamorphosing of a spherical print requires an intermediate lab step, it is often attractive for these films to use a different negative pulldown method (most commonly 3-perf, but occasionally Techniscope 2-perf) usually in conjunction with the added negative space Super 35 affords. However, with advancements in digital intermediate technology, the anamorphosing process can now be completed as

2368-403: The film is projected, so another lens is used in the projection booth that restores the picture back to its correct proportions (or, in the case of the now obsolete Technirama system, squeezes the image vertically) to restore normal geometry. The picture is not manipulated in any way in the dimension that is perpendicular to the one anamorphosed. It may seem that it would be easier to simply use

2432-520: The format was popular enough with audiences to trigger off the widescreen developments of the early 1950s. A few films were distributed in Cinerama format and shown in special theaters, but anamorphic widescreen was more attractive to the Studios since it could realize a similar aspect ratio and without the disadvantages of Cinerama's complexities and costs. The anamorphic widescreen format in use today

2496-415: The image in the vertical dimension (e.g. in the early Technirama system mentioned above), so that (in the case of the common 2-times anamorphic lens) a frame twice as high as it might have been filled the available film area. In either case, since a larger film area recorded the same picture the image quality was improved. The distortion (horizontal compression) introduced in the camera must be corrected when

2560-459: The lens. This results in out-of-focus points of light (called bokeh ) appearing as vertical ovals rather than circles, as well as an increase in horizontal angle of view, both in proportion to the squeeze factor. A 50mm anamorphic lens with a 2x squeeze will have the horizontal view of a 25mm spherical lens, while maintaining the vertical view and depth of field of a 50mm. This has led to the common claim that anamorphic lenses have shallower focus, as

2624-495: The most well known in the film industry: Although many films projected anamorphically have been shot using anamorphic lenses, there are often aesthetic and technical reasons that make shooting with spherical lenses preferable. If the director and cinematographer still wish to retain the 2.40:1 aspect ratio, anamorphic prints can be made from spherical negatives. Because the 2.40:1 image cropped from an Academy ratio 4-perf negative causes considerable waste of frame space, and since

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2688-650: The motion picture industry. In 1998, Arri released the Ultra Prime lenses. Development of the Arrilaser , a postproduction film recorder, began in 1997 and it was released for beta testing in 1998. In 2000, Arri purchased the company Moviecam and developed Arricam , a 35mm camera platform. In 2003, Arri developed its first digital camera, the Arriflex D-20, which later evolved into the D-21 . The camera used

2752-516: The negative's available frame area than any other modern format, which leaves little room for splices. As a consequence, a bright line flashed onscreen when a splice was projected, and theater projectionists had been narrowing the vertical aperture to hide these flashes even before 1971. This new projector aperture size, 0.838 × 0.700 inches (21.29 × 17.78 mm), aspect ratio 1.1971…∶1, made for an un-squeezed ratio of about 2.39∶1 (43:18). The most recent revision, SMPTE 195-1993 ,

2816-428: The optical field. A cameraman using an anamorphic attachment uses a spherical lens of a different focal length than they would use for Academy format (i.e. one sufficient to produce an image the full height of the frame and twice its width), and the anamorphic attachment squeezes the image (in the horizontal plane only) to half-width. Other anamorphic attachments existed (that were relatively rarely used) which would expand

2880-470: The original aspect ratio on the viewing screen (not to be confused with anamorphic widescreen , a different video encoding concept that uses similar principles but different means). In the late 1990s and 2000s, anamorphic lost popularity in comparison to "flat" (or "spherical") formats such as Super 35 with the advent of digital intermediates; however, in the years since digital cinema cameras and projectors have become commonplace, anamorphic has experienced

2944-485: The original model. In 2011, the Arrilaser was recognized with an Academy Award of Merit. In 2010, the Arri Alexa camera was released. The camera had the ability to compress 1080p footage to ProRes QuickTime formats and allowed direct-to-edit workflows. Later models added to the range included the Alexa Plus, Alexa Studio and Alexa M, which was designed to get the camera closer to the action. The Alexa Plus 4:3, like

3008-441: The picture is recorded onto the film negative such that its full width fits within the film's frame, but not its full height. A substantial part of the frame area is thereby wasted, being occupied (on the negative) by a portion of the image which is subsequently matted-out (i.e. masked, either on the print or in the projector) and so not projected, in order to create the widescreen image. To increase overall image detail, by using all

3072-419: The principle of total internal reflection (e.g. Technirama ), and cylindrical lenses (lenses curved, hence squeezing the image being photographed, in only one direction, as with a cylinder, e.g. the original CinemaScope system based on Henri Chrétien's design). Regardless of the method, the anamorphic lens projects a horizontally squeezed image on the film negative. This deliberate geometric distortion

3136-414: The process between 1958 and 1970), which is itself usually rounded up to 2.40 (implying a false precision as compared to 2.4). With the exception of certain specialist and archivist areas, generally 2.35, 2.39 and 2.40 mean the same to professionals, whether they themselves are even aware of the changes or not. There are numerous companies that are known for manufacturing anamorphic lenses. The following are

3200-445: The same screen. However, in practice the images never blended together perfectly at the edges. The system also suffered from various technical drawbacks, in that it required a film frame that was 6 perf in height, three cameras (eventually simplified to just one camera with three lenses and three streaming reels of film and the attendant machinery), and three projectors, which resulted in a host of synchronization problems. Nonetheless,

3264-464: The spinning reflex twin-bladed "butterfly" mirror shutter designed by Erich Kästner , chief engineer at Arnold & Richter Cine Technik (ARRI) , Arri Group , set at 45 degrees horizontally to the lens axis. This mirror reflex system was invented in 1931. Modern standard models have a maximum shutter exposure opening of 165 degrees, (not 180 degrees as claimed in Arri manuals), the 35 IIC-BV model having

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3328-466: The un-squeezed ratio of about 2.39∶1. The camera's aperture remained the same (2.35∶1 or 2.55∶1 if before 1958), only the height of the "negative assembly" splices changed and, consequently, the height of the frame changed. Anamorphic prints are still often called 'Scope' or 2.35 by projectionists, cinematographers, and others working in the field, if only by force of habit. 2.39 is in fact what they generally are referring to (unless discussing films using

3392-410: The use of standard ( 4 perf per frame ) cameras and projectors. The modern anamorphic format has an aspect ratio of 2.39:1, meaning the (projected) picture's width is 2.39 times its height, (this is sometimes approximated to 2.4:1). The older Academy format of Anamorphic widescreen was a response to a shortcoming in the non-anamorphic spherical (a.k.a. "flat") widescreen format. With a non-anamorphic lens,

3456-425: The viewfinder. The Arriflex 35 IIC was introduced in 1963, and had a larger ground glass and a movable viewfinder. It also allowed shooting anamorphic and seeing a desqueezed frame. It became a film production standard. It originally came with 3 Standard Mounts, while later models (after 1965) had the option of Bayonet mounts. After 1980 many were converted to hard front with a single PL mount. Stanley Kubrick used

3520-423: Was a more robust "squeeze" system, which was coupled with a slight expansion sub-system. The expansion sub-system was counter-rotated in relation to the main squeeze system, all in mechanical interlinkage with the focus mechanism of the primary lens: this combination changed the anamorphic ratio and minimized the effect of anamorphic mumps in the area of interest in the frame. Although these techniques were regarded as

3584-692: Was also released in 2014. In 2015, four of the five nominees for the cinematography category of the Academy Awards were filmed using the Arri Alexa. Arri's subsidiary postproduction and creative services company, Arri Film & TV, was renamed Arri Media in 2015 as part of a company restructuring. At NAB 2015, the SkyPanel LED fixtures were introduced by Arri. The SC60 and the SC30 have a full color tunable LED option. In April 2016, Arri acquired

3648-472: Was brought before a US court and in September 2011, Bravin entered a guilty plea. Arri Inc. denied knowledge or gains from Bravin's actions, and a separate lawsuit against the company was dropped as a result of an out-of-court settlement. Arriflex 35 The Arriflex 35 was the first reflex 35mm production motion picture camera , released by German manufacturer Arri in 1937. It was built around

3712-420: Was developed by Henri Chrétien during World War I to provide a wide angle viewer for military tanks. The optical process was called Hypergonar by Chrétien and was capable of showing a field of view of 180 degrees. After the war, the technology was first used in a cinematic context in the short film To Build a Fire (based on the 1908 Jack London story of the same name) in 1927 by Claude Autant-Lara . In

3776-551: Was introduced as a handheld newsreel camera at the Leipzig Trade Fare in 1937. Although originally intended, the camera was just too late to be used at Leni Riefenstahl 's Olympia I & II, therefore she shot on a Parvo camera. The US army captured some models and brought this camera to the US in the 1940s, where it served as a prototype for the almost identical Cineflex PH 330. Due to its importance during World war II footage, Arriflex 35 cameras were later used in

3840-501: Was largely attributed to the artifacts, distortions, light requirements, and expenses (in comparison to its spherical counterpart), in the face of the rising use of digital visual effects. Moreover, with the advent of the digital intermediate in the 2000s, film grain became less of a concern with Super 35, as the optical intermediate/enlargement process could now be bypassed, eliminating two generations of potential quality loss (though an anamorphic negative, due to its size, still retained

3904-432: Was not as successful as the Arriflex 35 IIC, and only a few models are still available. Anamorphic Anamorphic format is the cinematography technique of shooting a widescreen picture on standard 35 mm film or other visual recording media with a non-widescreen native aspect ratio . It also refers to the projection format in which a distorted image is "stretched" by an anamorphic projection lens to recreate

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3968-467: Was one of many widescreen formats developed in the 1950s to compete with the popularity of television and bring audiences back to the cinema. The Robe , which premiered in 1953, was the first feature film released that was filmed with an anamorphic lens. The introduction of anamorphic widescreen arose from a desire for wider aspect ratios that maximized overall image detail (compared to other widescreen formats, not compared to fullscreen) while retaining

4032-485: Was released in August 1993. It slightly altered the dimensions so as to standardize a common projection aperture width (0.825 inches or 20.96 mm) for all formats, anamorphic (2.39∶1) and flat (1.85∶1). The projection aperture height was also reduced by 0.01 inches (0.25 mm) to give an aperture size of 0.825 × 0.690 inches (20.96 × 17.53 mm), and an aspect ratio of 1.1956…∶1, and thus retaining

4096-417: Was the first company to produce an anti-mumps system in the late 1950s. Panavision used a second lens (i.e. an add-on adapter) which was mechanically linked to the focus position of the primary lens. This changed the anamorphic ratio as the focus changed, resulting in the area of interest on-screen having a normal-looking geometry. Later cylindrical lens systems used, instead, two sets of anamorphic optics: one

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