Odessa - Johan Dijkstra
Atlas Orion
ANAMORPHIC
Anamorphic is a filmmaking technique that has been used in major Hollywood productions since the 1950s. With a special oval-shaped lens, the image is horizontally compressed onto the film negative or digital sensor. In post-production, the image is stretched back to its intended proportions, resulting in a natural yet wider frame. This technical process introduced a range of artistic side effects that have become synonymous with the Hollywood look. You can recognize it by the iconic horizontal lens flares, the oval-shaped bokeh, added distortion, and softer edges. The result is a unique, organic atmosphere that instantly feels cinematic. It’s no coincidence that directors such as Quentin Tarantino, Christopher Nolan, Denis Villeneuve, and J.J. Abrams embrace anamorphic to give their films that unmistakable character.
Once Upon a Time in Hollywood 2019
Robert Richardson ASC
Panavision C-, E-, T-Series
Babylon 2022
Linus Sandgren ASC, FSF
Atlas Orion
Interstellar 2014
Hoyte van Hoytema ASC, FSF, NSC
Panavision C-, D-, E-Series
No Time to Die 2021
Linus Sandgren ASC, FSF
Panavision C-, E- and G-Series Lenses
SQUEEZE FACTOR
Traditionally, filmmakers used 2× anamorphic lenses on a 4:3 film negative or sensor. Once the image was stretched by a factor of 2, it resulted in the classic CinemaScope aspect ratio of 2.39:1, the Academy standard. With modern digital cameras like the DJI Ronin 4D or Sony FX9, things work differently: these cameras use a 16:9 sensor. To achieve the same 2.39:1 result, you need a different squeeze factor. That’s where the Blazar Mantis lenses come in, with their 1.33× squeeze.
Scene
Recording
Post-production
POST PRODUCTION
Blazar Mantis lenses are nominally 1.33x anamorphic, but in practice they behave closer to 1.40x. This document shows two workflows: a fast shortcut (≈1.35x) and the exact 1.40x Academy standard.
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1.40× workflow = exact 2.39:1, but requires crop.
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1.35× workflow = faster, less exact, but still a valid and efficient option for many projects.
HD QUICK WORKFLOW → 2.39:1
EASY WAY
1. Record
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Start: 1920 × 1080 px (16:9 squeezed)
2. Compress vertically
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Directly to: 1920 × 803 px
3. Result
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Exact 2.39:1
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Equivalent to an effective squeeze factor of ~1.35x (between 1.33x and 1.40x)
Key takeaway
Use this shortcut for fast TV or online productions.
It delivers a clean 2.39:1 HD file in one step, without additional calculations.
UHD 1.40x → 2.39:1
ACADEMY STANDARD
1. Record
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Native sensor: 3840 × 2160 px (16:9)
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Image is squeezed horizontally by 1.40x
2. Apply horizontal stretch (1.40x)
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3840 px → 5376 px
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Result: 5376 × 2160 px (≈2.49:1)
3. Crop to 2.39:1
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Required width = 2160 × 2.39 ≈ 5164 px
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Crop horizontally from 5376 px → 5164 × 2160 px
4. Scale to standard containers (deliverables)
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UHD Scope: 3840 × 1607 px
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HD Scope: 1920 × 804 px
UHD 1.40x → 2:1
MOBILE DEVICE STANDARD
1. Record
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Native sensor: 3840 × 2160 px (16:9)
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Image is squeezed horizontally by 1.40x
2. Apply horizontal stretch (1.40x)
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3840 px → 5376 px
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Result: 5376 × 2160 px (≈2.49:1)
3. Crop to 2.00:1
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Required width = 2160 × 2.00 = 4320 px
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Crop horizontally from 5376 px → 4320 × 2160 px
4. Scale to standard containers (deliverables)
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UHD Mobile: 3840 × 1920 px
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HD Mobile: 1920 × 960 px
UHD 1.40x → 16:9 HD
BROADCAST STANDARD
1. Record
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Native sensor: 3840 × 2160 px (16:9)
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Image is squeezed horizontally by 1.40x
2. Apply horizontal stretch (1.40x)
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3840 px → 5376 px
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Result: 5376 × 2160 px (≈2.49:1)
3. Crop to 16:9 (1.78:1)
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Required width = 2160 × 1.78 ≈ 3840 px
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Crop horizontally from 5376 px → 3840 × 2160 px
4. Scale to standard containers (deliverables)
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UHD Broadcast: 3840 × 2160 px
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HD Broadcast: 1920 × 1080 px
HIGH-END ALTERNATIVE: CROP BEFORE DE-SQUEEZE
While the standard workflow is to stretch first and crop afterwards, there is a more high-end approach used in some VFX or archival pipelines: cropping directly in the squeezed UHD material before applying the horizontal de-squeeze.
Why?
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This ensures you only work with native sensor pixels.
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You avoid interpolating (stretching) pixels that will later be thrown away during cropping.
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The trade-off: editors work in a distorted (squeezed) image, which is less intuitive.
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This method avoids interpolating stretched pixels you will later crop away.
2.39:1 DELIVERY
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Final width after stretch = 5164 px
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Crop width in domain = 5164 ÷ 1.40 ≈ 3687 px
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Crop to 3687 × 2160 px
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After stretch (×1.40): 5164 × 2160 px → scale to 3840 × 1607 (UHD) / 1920 × 804 (HD)
2:1 DELIVERY
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Final width after stretch = 4320 px
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Crop width in domain = 4320 ÷ 1.40 ≈ 3086 px
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Crop to 3086 × 2160 px
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After stretch: 4320 × 2160 px → scale to 3840 × 1920 (UHD) / 1920 × 960 (HD)
16:9 (1.78:1) DELIVERY
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Final width after stretch = 3840 px
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Crop width in domain = 3840 ÷ 1.40 ≈ 2743 px
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Crop to 2743 × 2160 px
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After stretch: 3840 × 2160 px → scale to 3840 × 2160 (UHD) / 1920 × 1080 (HD)
This “crop in domain” workflow delivers the exact same final formats (2.39, 2.00, 16:9), but preserves only the pixels you actually need before stretching.
It is more precise, but less user-friendly in day-to-day editing.
La La Land 2016
Panavision Primo, C-, E-Series
AVID MEDIA COMPOSER
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Import: AMA Link clips normally (squeezed).
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FrameFlex: Set Image Aspect Ratio to 1.40.
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Timeline: Create a sequence in your target aspect (2.39:1 or 2:1).
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Crop: Apply FrameFlex crop to match the pre-crop dimensions (3687 × 2160 for 2.39, 3086 × 2160 for 2:1 in squeezed).
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Export: Deliver UHD (3840 wide) or HD (1920 wide).
ADOBE PREMIERE PRO
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Import: Drop clips in a 16:9 project (footage is squeezed).
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Scale: Set Horizontal Scale = 140%.
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Sequence: Build a sequence in 2.39:1 (3840 × 1607) or 2:1 (3840 × 1920).
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Crop: Use the Crop effect or set guides to pre-crop width (3687 px for 2.39, 3086 px for 2:1 before scaling).
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Export: Match sequence settings.
DAVINCI RESOLVE
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Clip Attributes: Set Pixel Aspect Ratio = Custom 1.40.
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Timeline: Create timeline in final resolution (e.g. 3840 × 1607 for 2.39, 3840 × 1920 for 2:1).
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Cropping: Apply Input Sizing to crop to the correct squeezed width before desqueeze.
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Scaling: In Project Settings → Image Scaling, set to Scale full frame with crop.
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Export: Deliver UHD or HD scope.
EXPERIENCE
I have worked with many different anamorphic lens sets, including Atlas Orion 2×, Atlas Mercury, Elite Primes 2×, Kowa 2×, and Service Vision. Each of these lenses has its own qualities and has helped shape my understanding of how different glass affects the final image.
Because of the practical advantages of the Blazar Mantis 1.33× lenses, I decided to add a set to my own equipment. They combine well with modern 16:9 sensors and make post-production more straightforward, while still retaining the key characteristics associated with anamorphic cinematography.
My personal set includes the 35mm, 50mm, and 75mm T2.0.
WHY BLAZAR MANTIS
Anamorphic lenses are often seen as complex: wider aspect ratios, technical workflows, and the fear of cropping or resolution loss. With the Blazar Mantis 1.33× anamorphic lenses, that barrier disappears.
These lenses are designed specifically for today’s 16:9 cameras, meaning the workflow is clean and efficient. After desqueeze, the image already sits almost perfectly at the 2.39:1 cinema standard, without heavy cropping or wasted pixels. The result: sharper, more controllable images than classic 2× glass, while still retaining the unmistakable anamorphic character, oval bokeh, organic fall-off, and those iconic horizontal flares.
For you as a client, this means flexibility across every platform. The same shoot can deliver in cinema-scope 2.39:1, in 2:1 for online and mobile devices, or even vertical anamorphic for portrait formats, all from the same material. No complicated post-production, no hidden compromises, just cinematic images tailored to your audience.
With Blazar Mantis, you get the look of Hollywood anamorphic combined with the practicality modern productions demand.
The Batman 2022
Atlas Orion