Vilmos Zsigmond predicted a renaissance of anamorphic movies: “The anamorphic format is really perfect and it helps editing (…) you have a close up in the front left and a long shot in the right on the other side, so even if it’s a little out of focus you have the environment in the same shot at the closeup. If you are shooting TV a closeup is a closeup (…) it’s not exiting visual. That’s why I think there is a renaissance happening in anamorphic movies”
I think it’s something we can all wish for as much as for 3D to go away. Companies like Arri and Vantage Film are gearing up for the new aera of filmmaking and anamorphic lenses are popping up everywhere. The Alexa offers a 4:3 sensor format that is designed to capture the light coming through an anamorphic lens and then sends it to the de-squeezing into the digital intestines of the camera.
Vantage Film announced that they are investing € 7 Million in development of new lenses and tools. This represents the largest expansion in the company’s 20 year history. I assume that heir legendary Hawk lenses will be overhauled and optimized for the digital age.
Cooke Optics Ltd is also working on anamorphic lenses. They are planned to be ready by end of 2013 or early 2014, and my guess is they will be front cylinder, classic style Anamorphic primes, with the traditional “Cooke Look.”
Arri/Zeiss are working on a whole new line of anamorphic lenses and introduced some of them to the public already.
Servicevision has a 100mm 2x anamorphic prime (above) and a 36 mm model. Six lenses are planned to be shown at NAB 2013: 36, 40, 50, 64, 80 and 100 mm, with delivery toward end of 2013. The lenses are named Scorpio.
Of course Panavision still has a huge inventory of anamorphic lenses.
I believe we all can be looking forward to more and more production of epic widescreen movies in the very near future.