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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 2x 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 and, finally, 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 aka AlexScope (Argentina) * Arriscope (Germany; developed by Arri) * ArriVision (Germany; 3-D) * Cinepanoramic (France) * CinemaScope (USA/France; 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) * Franscope (France and Czechoslovakia until 1959) * Grandscope (Japan) * Hammerscope (England) * Hawk Scope (Germany) * J-D-C Scope (England; developed by Joe Dunton) * Kowa Scope (Japan) * Lomoscope (Russia) * Master Scope (from Zeiss Master Anamorphic Lenses) (Germany) * Megascope (England) * Naturama * Nikkatsu Scope (Japan) * Nipponscope (Japan) * Optex-Scope (England) * Panavision (US) * Panamorph (US) * Panoramic(a) (Italy) * Regalscope (US; 20th Century Fox's tradename 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, not licensed; camera and optical printer lenses were made) * Shawscope (Hong Kong; Shaw Brothers's tradename 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) * Vistarama * WarnerScope (US; developed by Warner Bros.) * Warwickscope (England) 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「List of anamorphic format trade names」の詳細全文を読む スポンサード リンク
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