List of anamorphic format trade names

There have been a great number of anamorphic format trade names, for reasons of prestige, technology, or vanity. The basic 35 mm anamorphic format originally popularized as CinemaScope has been known by a number of other monikers. In some cases, these names actually refer to different lens designs and technologies implemented; however, the great majority are simply re-branded lenses originally known by another name. In recent decades, it has generally been considered a cliché throwback, and thus the generic name of anamorphic format has become predominant.

All of the following trade names refer to the modern SMPTE-standard anamorphic 35 mm format or what was regarded as the standard at that time. Generically speaking, this means a 2× anamorphosis lens with 4-perf negative pulldown for both image origination and projection, and an aspect ratio of 2.35:1 until 1970 (requiring special, narrow "negative assembly" splices) and 2.39:1 after 1970 (using conventional "negative assembly" splices). The change from 2.35:1 to 2.39:1 (sometimes rounded to 2.4:1 or, mathematically incorrectly, to 2.40:1) was mainly intended to facilitate "negative assembly", and also to better hide "negative assembly" splices, which otherwise may appear as a slight "flash" at the upper edge of the frame, during a splice. The term anamorphic should not be considered synonymous with widescreen; VistaVision was non-anamorphic, and at the time of shooting, so was Techniscope .

Trade names
  • /i Scope (from Cooke Anamorphic/i Lenses) (England)
  • AgaScope (Sweden, Czechoslovakia and Hungary)
  • Alexcope, also known as AlexScope (Argentina)
  • Arriscope (Germany; developed by Arri)
  • ArriVision (Germany; 3-D)
  • Autentiscope (Spain)
  • Camerascope (England)
  • Cathayscope (Hong Kong)
  • Cinepanoramic (France)
  • CinemaScope (USA ["Bausch & Lomb formula" anamorphics, used for the fourth and all subsequent CinemaScope films]/France ["Chrétien formula" anamorphic, used for only the first three CinemaScope films]; pre-releases were 2.66:1, with separate 3-track sound, and 2.55:1, with composite 4-track sound, before standardization on 2.35:1; all general releases were 2.55:1, 1953 and later or 2.35:1, 1958 and later; the camera aperture remained 1.33:1/2.66:1; only the recommended projection aperture changed)
  • Cinescope (Italy)
  • Cineovision (Japan)
  • Clairmont-Scope (USA)
  • Colorscope (Italy; inconsistent usage across different formats, including anamorphic)
  • Daieiscope (Japan)
  • Dyaliscope (France)
  • Elite Scope (Russia)
  • Euroscope (France)
  • Filmascope (Spain)
  • Filmscope (Spain)
  • Franscope (France and Czechoslovakia until 1959)
  • Grandscope (Japan)
  • Hammerscope (England)
  • Hawk Scope (Germany)
  • Hispanoscope a.k.a. Ifiscope (Spain)
  • J-D-C Scope (England; developed by Joe Dunton[1])
  • Kinoscope (Spain)
  • Kowa Scope (Japan)
  • Lomoscope (Russia)
  • Magnoscope a.k.a. Cinescope (Spain)
  • Master Scope (from Zeiss Master Anamorphic Lenses) (Germany)
  • Megascope (England)
  • Naturama
  • Nikkatsu Scope (Japan)
  • Nipponscope (Japan)
  • Optex-Scope (England)
  • Panamorph (US)
  • Panavision (US)
  • Panoramic(a) (Italy)
  • Regalscope (US; 20th Century Fox's trade name for CinemaScope when used on black and white films)
  • Rapiscope (Indonesia)
  • Scanoscope (several Hollywood productions in 1950s–60s were shot with this system, as the system was sold, not licensed; camera and optical printer lenses were made)
  • Shawscope (Hong Kong; Shaw Brothers's trade name for CinemaScope)
  • SIRUI Optical GmbH (Germany)
  • Sovscope (USSR)
  • Space-Vision (3-D)
  • Spectrascope
  • SuperCinescope (Italy)
  • SuperTotalscope (Italy)
  • Technovision (France)
  • Todd-AO 35 (US)
  • Toeiscope (Japan)
  • TohoScope (Japan)
  • Totalscope (Italy)
  • Totalvision (Italy)
  • Ultrascope (Germany)
  • Vídeoscope (Spain)
  • Vistarama
  • WarnerScope (US; developed by Warner Bros.)
  • Warwickscope (England)

References
  1. "Joe Dunton". IMDb. Retrieved 2016-12-25.
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