The Magic of Anamorphic Lenses:

HISTORY, EVOLUTION, AND MODERN DAY APPEAL

Anamorphic lenses hold a unique place in the world of filmmaking, captivating filmmakers for decades. From their origins in wartime innovation to their prominent use in modern cinema, these lenses have become a symbol of cinematic storytelling. But what exactly are anamorphic lenses, where did they come from, why do filmmakers still use them today, and why do we at Rowe Films love them?

THE ORIGINS OF ANAMORPHIC LENSES

The story of anamorphic lenses begins not in Hollywood but bizarrely, on the battlefield. During World War I, French physicist Henri Chrétien developed the anamorphoscope, a lens system designed to provide soldiers with a wider field of vision through periscopes and tank scopes. By compressing a wide image horizontally, Chrétien's invention allowed for panoramic views of the battlefield.

After the war, the potential of this technology caught the attention of the entertainment industry. In the 1920s and 1930s, the struggling film industry sought ways to provide audiences with more immersive cinematic experiences. However, it wasn’t until the 1950s that anamorphic lenses truly entered the spotlight, thanks to a crisis in the film industry: the rise of television!

WHY ANAMORPHIC LENSES CAME TO CINEMA

As television grew in popularity, film studios needed a way to entice audiences back into theaters. Sound familiar? The 1950’s solution was widescreen formats, offering an expansive and immersive visual experience that television simply could not replicate. Enter CinemaScope, a widescreen process introduced by 20th Century Fox in 1953.

Using Chrétien’s anamorphic technology, CinemaScope allowed filmmakers to shoot on standard 35mm film while capturing a much wider aspect ratio. The anamorphic lenses compressed and ‘squeezed’ the image horizontally during filming and then expanded or ‘desqueezed’ it during projection, creating the widescreen effect. This innovation was revolutionary, enabling filmmakers to create grand, sweeping visuals unlike anything anyone had ever seen before.

VISUAL CHARACTERISTICS OF ANAMORPHIC LENSES

The Mercury series anamorphic lenses by Atlas Lens Co create beautiful oval shaped bokeh and a painterly, artistic look to out of focus areas. Characteristics that are unique to anamorphic lenses.

What sets anamorphics apart is not just their ability to capture a wider image, but also the unique visual characteristics they create, almost as a side effect of the light being physically squeezed through the glass:

Oval shaped and ‘Waterfall’ Bokeh: The out of focus areas of an image rendered by anamorphic lenses have a distinctive oval shape, as opposed to spherical lenses that create round ‘bokeh balls’. Out of focus areas also have a ‘waterfall’ effect, adding a stylised, painterly quality to the visuals.
Horizontal Lens Flares: Seen those blue streaks across the screen before? That’s them. Anamorphic lenses create iconic horizontal streaks of light, famously seen in sci-fi films like Star Trek and Blade Runner 2049. They are traditionally blue, such as the iconic Panavision lenses, however modern lens manufacturers are now creating lenses with different coloured flares, such as gold and ‘silver’.
Distortion and Compression: The distortion and optical imperfections of anamorphic lenses lend a unique perspective which can really help draw attention to the subject in the frame.

Lens elements in an anamorphic lens are oval, as opposed to circular, as you’d find in a standard spherical lens. This is what squeezes the light horizontally, as it enters and passes through the elements.

WHY FILMMAKERS USE ANAMORPHIC LENSES TODAY

In the age of digital cameras and super high resolution images, one might wonder why filmmakers still turn to anamorphic lenses. The answer lies in their ability to create a stylised, distinctive image, enhancing storytelling, and contributing towards a ‘cinematic’ aesthetic. For some filmmakers and cinematographers, modern cameras can at times be almost too perfect.

Emotional Impact: The wider field of view and shallow depth of field help to isolate subjects, drawing audiences into the story.
Visual Composition: Anamorphic lenses enhance the visual language of cinema, allowing filmmakers to frame their subjects within vast landscapes or intimate spaces.
Aesthetic Appeal: The imperfections and quirks of anamorphic lenses give films a distinctive look and feel that is often lost with modern, technically superior, but overly clinical lenses.

THE FUTURE OF ANAMORPHIC

With advancements in technology, anamorphic lenses are more accessible than ever. They used to cost more than a family home, but times have changed. Modern anamorphic options are more affordable and cater to digital filmmakers while preserving the vintage ‘film like’ aesthetic that made the category of lenses so iconic. At the same time, manufacturers are developing anamorphic lenses for smaller formats too, even including smartphones, democratising ‘The Anamorphic Look’ for creators of all levels.

As cinema continues to evolve, anamorphic lenses remain a tool for filmmakers who seek to combine technical innovation with artistic expression. They are more than just a way to capture a wider image. They are a way for a filmmaker to ‘paint’ with the light hitting a camera sensor.

Anamorphic lenses have traveled a fascinating journey from military innovation to cinematic icon. Their super distinctive characteristics and ability to elevate cinematography have ensured their lasting relevance and resurgence in the filmmaking world.

THE ROWE FILMS PERSPECTIVE

As filmmakers, we are always looking to create images that have distinctive character. I am personally very much of the school of thought that digital cameras today are almost too perfect in certain applications. As I have discussed in previous blog posts, I do feel like something was lost during the digital revolution. It all comes down to how each of us perceive ‘cinematic’, which is certainly different for everyone.

When I look back at the movies of the 60’s, 70’s and 80’s, they have so much visual character and style. You feel them as much as you see them. The move to digital sensors from celluloid film, combined with ever better modern lenses that are technically far superior to those of just a few decades ago, has meant that for me at least, something was lost along the way.

Modern super high resolution cinematography, in my own highly subjective view, can be too clinical, almost lacking in soul. This is where my personal love for anamorphic lenses comes in. They reintroduce to the digital world, many of those ‘cinematic’ characteristics that we all know and love.

It’s worth noting that due to their unique characteristics and technical ‘imperfections’, they certainly aren’t suitable for every production. However, where there is room for artistic expression, they remain the perfect tool for the job.

ROWE FILMS' PRODUCTIONS SHOT ON ANAMORPHIC LENSES

THE HOAX: Shot with Atlas Lens Co Mercury Series anamorphic lenses.

CIRCLE: A christmas commercial shot with Sirui Optics Saturn series anamorphic lenses.

The Magic of Anamorphic Lenses: What are they, and why do filmmakers use them?