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)
• Merdekascope (Malaysia)
• Naturama (USA)
• Nikkatsu Scope (Japan)
• Nipponscope (Japan)
• Optex-Scope (England)
• Panamorph (US)
• Panavision (US)
• Panoramic(a) (Italy)
• Perfimascope (Malaysia)
• Regalscope (US; 20th Century Fox's trade name for CinemaScope when used on black and white films)
• Rapiscope (Indonesia)
• Ruralscope (Made by Totalvision) (France)
• 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),
• Superscope (1954)
• SuperTotalscope (Italy)
• Technirama (1956)
• Techniscope (Italy)
• Technovision (France)
• Todd-AO 35 (US)
• Toeiscope (Japan)
• TohoScope (Japan)
• Totalscope (Italy)
• Totalvision (France, Italy, East Germany)
• Ultrascope (West Germany)
• Vídeoscope (Spain)
• Vistarama
• WarnerScope (US; developed by Warner Bros.)
• Warwickscope (England)

References