Anamorphic Squeeze Ratio Chart
The definitive reference for every anamorphic lens and its squeeze ratio. Grouped by ratio with final aspect ratios and specific lens models.
Quick Reference Table
This table shows what each squeeze ratio means in practice. The final aspect ratio assumes a standard 16:9 (1.78:1) sensor.
| Squeeze Ratio | Horizontal Stretch | Final Aspect Ratio | Look |
|---|---|---|---|
| 1.25x | +25% | 2.22:1 | Subtle widescreen |
| 1.33x | +33% | 2.37:1 | Cinema standard (near 2.39:1) |
| 1.5x | +50% | 2.67:1 | Ultra-wide cinema |
| 1.55x | +55% | 2.76:1 | Ultra-wide, distinctive |
| 1.8x | +80% | 3.20:1 | Extreme widescreen |
| 2.0x | +100% | 3.56:1 (cropped to 2.39:1) | Classic anamorphic, usually cropped |
Understanding the Math
The squeeze ratio tells you how much horizontal compression the lens applies. To calculate the final aspect ratio after desqueezing:
Final Aspect Ratio = Sensor Aspect Ratio x Squeeze Factor
For a 16:9 sensor (1.78:1), a 1.33x lens gives you: 1.78 x 1.33 = 2.37:1.
For a 4:3 sensor (1.33:1), the same 1.33x lens gives you: 1.33 x 1.33 = 1.77:1 (essentially 16:9).
This is why some filmmakers pair 1.33x anamorphic lenses with 4:3 Micro Four Thirds sensors: the desqueezed result is very close to standard 16:9 HD, but with anamorphic character (flares, bokeh, breathing).
Every Lens by Squeeze Ratio
The gentlest squeeze. Produces a modestly wider image with subtle anamorphic characteristics. Popular for content creators who want a widescreen look without extreme letterboxing.
| Lens | Mount | Notes |
|---|---|---|
| Freewell Anamorphic | Phone clip | Budget-friendly phone anamorphic |
| Beastgrip 1.25x | Phone clip | Compatible with various phone cases |
The most common ratio for modern anamorphic lenses, especially those designed for phones and smaller cinema cameras. Produces a near-cinematic 2.39:1 aspect ratio on 16:9 sensors. The sweet spot between anamorphic character and practical vertical resolution.
| Lens | Mount | Notes |
|---|---|---|
| Sirui 24mm f/2.8 Anamorphic | EF-M, MFT, X, E, Z | Wide angle, compact |
| Sirui 35mm f/1.8 Anamorphic | EF-M, MFT, X, E, Z | Most popular Sirui |
| Sirui 50mm f/1.8 Anamorphic | EF-M, MFT, X, E, Z | Classic portrait focal length |
| Sirui 75mm f/1.8 Anamorphic | EF-M, MFT, X, E, Z | Telephoto, strong compression |
| Sirui Saturn 35mm (Phone) | Phone clip | Phone-specific design |
| Moment Anamorphic | Phone (Moment case) | Gold flares, warm tone |
| Moment Gold Anamorphic | Phone (Moment case) | Enhanced flare, premium build |
| Ulanzi 1.33x Anamorphic | Phone clip | Budget-friendly, good optics |
| Smallrig 1.33x Anamorphic | Phone clip | Universal clip mount |
| Great Joy 1.33x | PL, EF | Cinema lens, full frame |
| Vazen 28mm 1.33x | MFT | Wide, lightweight |
A middle ground between 1.33x and 2x. Stronger anamorphic characteristics (more pronounced oval bokeh, wider flares) while retaining good vertical resolution. Growing in popularity for indie cinema.
| Lens | Mount | Notes |
|---|---|---|
| Atlas Mercury 28mm T2.2 | PL, EF, LPL | Fast, compact cinema lens |
| Atlas Mercury 40mm T2.2 | PL, EF, LPL | Versatile standard lens |
| Atlas Mercury 60mm T2.2 | PL, EF, LPL | Short telephoto |
| Atlas Mercury 80mm T2.2 | PL, EF, LPL | Portrait/telephoto |
| Atlas Mercury 105mm T2.2 | PL, EF, LPL | Long telephoto |
| Blazar Remus 1.5x (set) | EF, PL, E | 33mm, 45mm, 58mm, 77mm |
| Great Joy 1.5x | PL, EF | Full frame cinema |
| Laowa Nanomorph (set) | MFT, EF, E, DL | 27mm, 35mm, 50mm, 65mm, 80mm |
An uncommon ratio used by Blazar's Amber line. Slightly more squeeze than 1.5x, giving distinctly wider results and more pronounced anamorphic artifacts.
| Lens | Mount | Notes |
|---|---|---|
| Blazar Amber 27mm T2 | EF, E, RF, L | Vintage-inspired, warm flares |
| Blazar Amber 47mm T2 | EF, E, RF, L | Standard focal length |
| Blazar Amber 77mm T2 | EF, E, RF, L | Portrait/telephoto |
Strong squeeze with very pronounced anamorphic characteristics. Heavily oval bokeh, dramatic flares, extreme widescreen. Often cropped in post to 2.39:1 or 2.67:1 for more practical delivery.
| Lens | Mount | Notes |
|---|---|---|
| Vazen 40mm T2 1.8x | MFT, EF | Compact cinema anamorphic |
| Vazen 65mm T2 1.8x | MFT, EF | Portrait focal length |
| Vazen 85mm T2.8 1.8x | MFT, EF | Telephoto |
| Kowa Anamorphic (various) | PL (adapted) | Vintage cinema glass, highly sought after |
| Lomo Square Front (various) | PL | Russian cinema lenses, distinctive flare |
The classic anamorphic ratio. Used in Hollywood for decades. Maximum anamorphic character: extreme oval bokeh, the widest flares, and the most dramatic breathing. On Super 35 sensors, 2x squeeze was historically paired with Academy ratio (1.375:1) gates to produce 2.39:1 Cinemascope. On modern 16:9 sensors, the full desqueeze is 3.56:1, which is usually cropped.
| Lens | Mount | Notes |
|---|---|---|
| Panavision C/D/E/G/T Series | PVintage (PV) | Industry standard, rental only |
| Arri Master Anamorphic | PL, LPL | Modern precision, clean flares |
| Cooke Anamorphic/i (set) | PL | Cooke Look, warm rendering |
| Iscorama (various) | M42, adapted | Single-focus rear anamorphic adapter |
| SLR Magic Anamorphot (various) | MFT, adapted | Affordable 2x anamorphic |
| Schneider Cine-Xenon (vintage) | Arri Standard, adapted | Classic cinema glass from the 1960s |
| Hawk V-Series (set) | PL | Modern cinema, clean and precise |
| Atlas Orion (set) | PL, LPL | 2x, 40mm-100mm range |
| Lomo Round Front (various) | PL | Russian cinema, characterful |
How Squeeze Ratio Affects the Anamorphic Look
The squeeze ratio is not just about aspect ratio. It directly affects the visual characteristics that make anamorphic footage distinctive:
- Bokeh shape. Higher squeeze = more oval. A 2x lens produces dramatically elongated background highlights. A 1.33x lens has subtler ovalization.
- Lens flares. Anamorphic horizontal flares get longer and more pronounced with higher squeeze ratios.
- Focus breathing. The "breathing" effect (scene size changing as you rack focus) is more dramatic with higher squeeze factors.
- Vertical resolution. Higher squeeze means more of the sensor is used for horizontal information, so you retain less vertical resolution. A 2x lens effectively halves your vertical detail before desqueezing.
Choosing the Right Ratio
There is no objectively "best" ratio. The right choice depends on your use case:
- Social media and phone content: 1.25x or 1.33x. Wide enough to look cinematic, narrow enough to work on mobile screens.
- Indie film and narrative: 1.33x or 1.5x. Good balance of anamorphic character and practical resolution.
- High-end cinema: 1.5x, 1.8x, or 2x. Maximum anamorphic character for theatrical presentation.
- Music videos and commercials: Any ratio works. 2x is popular for its dramatic flares and bokeh.
Desqueezed Supports Every Ratio
No matter which lens you use, Desqueezed auto-detects the squeeze ratio and applies the correct correction. It supports all standard ratios (1.25x through 2.0x) plus custom ratios for specialty and vintage lenses.
If you mix lenses from different ratio groups in the same shoot, Desqueezed analyzes each file individually and applies the correct stretch. No sorting, no manual overrides, no mistakes.
For step-by-step instructions, see how to desqueeze anamorphic footage.
Auto-detect any squeeze ratio
Desqueezed identifies your lens and applies the correct ratio automatically. Works with every lens on this page.
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