There have been an 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 as they are known by another name. In recent decades, it has been considered a 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 considered as standard at that time. This paper was published in the last two years of the year, and it was an anomorphosis lens with 4-perf negative pulldown for both original image 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 and, finally, to 2.40: 1 is more likely to facilitate “negative assembly”, and also to be better “negative assembly” splices, which may appear as a slight “flash” at the upper edge of the frame, during a splice.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)
• Cinepanoramic (France)
• CinemaScope (USA [“Bausch & Lomb formula” anamorphics, used for the fourth and all subsequent CinemaScope films] / France [” Christian 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; camera aperture remained 1.33 : 1 / 2.66: 1; only the recommended projection aperture changed)
• Cinescope (Italy)
• Cineovision (Japan)
• Clairmont-Scope (USA)
• Colorscope (inconsistent use 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 aka Ifiscope (Spain)
• JDC Scope (England, developed by Joe Dunton ^[1] )
• Kinoscope (Spain)
• Kowa Scope (Japan)
• Lomoscope (Russia)
• Magnoscope aka 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)
• Scanoscope (Several Hollywood productions in 1950s-60s were shot with this system, as the system was sold,
• Shawscope (Hong Kong, Shaw Brothers ‘ trade name for CinemaScope)
• 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