List of motion picture film formats

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This article is about motion picture films. For photography and other films, see Film format.

This list of film formats catalogues formats developed for shooting or viewing motion pictures, ranging from the Chronophotographe format from 1888, to mid-20th century formats such as the 1953 CinemaScope format, to more recent formats such as the 1992 IMAX HD format. To be included in this list, the formats must all have been used in the field or for test shooting, and they must all use photochemical images that are formed or projected on a film base, a transparent substrate which supports the photosensitive emulsion.

As well, the formats must have been used to make more than just a few test frames. The camera must be fast enough (in frames per second) to create an illusion of motion consistent with the persistence of vision phenomenon. The format must be significantly unique from other listed formats in regard to its image capture or image projection. The format characteristics should be clearly definable in several listed parameters (e. g., film gauge, aspect ratio, etc.).

Legend[]

  • Format is the name of the process; some formats may have multiple names in common usage.
  • Creator is the individual or company most directly attributable as the developer of the system.
  • Year created usually refers to the earliest date that the system was used to completion (i.e. projection), but may refer to when it was developed if no known film was made.
  • First known film is the first film (not including tests) made with the format and intended for release.
  • Negative gauge is the film gauge (width) used for the original camera negative.
  • Negative aspect ratio is the image ratio determined by the ratio of the gate dimensions multiplied by the anamorphic power of the camera lenses (1× in the case of spherical lenses).[1]
  • Gate dimensions are the width and height of the camera gate aperture, and by extension the film negative frame.
  • Negative pulldown describes the film perforations per frame, the direction of film transport, and standard frame speed. Film transport is assumed to be vertical unless otherwise noted, and standard frame speed is assumed to be 24 frames per second unless the film is otherwise noted or has no standard. Silent film has no standard speed; many amateur formats have several common speeds, but no standard.
  • Negative lenses indicates whether spherical (normal) or anamorphic lenses are used on the original camera negative, and if anamorphic lenses, what anamorphic power is used.
  • Projection gauge is the film gauge (width) used for the release print.
  • Projection aspect ratio is the image ratio determined by the ratio of the projection dimensions multiplied by the anamorphic power of the projection lenses (1× in the case of spherical lenses). This is also known as the intended theatrical aspect ratio.[1]
  • Projection dimensions are the width and height of the projector aperture plate, and by extension the film frame area which is projected. The aperture plate always very slightly crops the frame.
  • Projection lenses indicates whether spherical (normal) or anamorphic lenses are used on the projector, and if anamorphic lenses, what anamorphic power is used.

Formats are listed in chronological order and by release date in the case of multiple formats within one year, if this can be determined. Undated formats are listed at the bottom in alphabetical order.

Film formats[]

The table does not cover 3-D film systems or color film systems, nor is it well-suited to emphasize the differences between those systems.
Format Creator Est. First
known work 		Negative
gauge 		Negative
A/R[1] 		Gate
dims 		Negative
pulldown 		Negative
lenses 		Projection
gauge 		Projection
A/R[1] 		Projection
dims 		Projection
lenses
Chronophotographe[2] Étienne-Jules Marey 1888 motion analysis studies 90 mm 1.00 3.543" × 3.543" unperforated spherical


[3] Louis Le Prince 1888 Roundhay Garden Scene 65 mm 1.00 unperforated spherical not known 1.00 spherical


Wm. Friese-Greene 1889 65 mm 1.00 pin wheel perforation spherical


Kinetoscope cylinder Wm. Dickson & T. Edison 1889 or 1890 Monkeyshines, No. 1 strip rolled around a cylinder unperforated spherical spherical


Wordsworth Donisthorpe 1890 or 1891 view of Trafalgar Square 70 mm 1.00 unperforated spherical


Friese-Greene Wm. Friese-Greene 1891 60 mm 1.325 8 round perfs, 2 sides spherical


Kinetoscope horizontal Wm. Dickson & William Heise 1891 Dickson Greeting 19 mm 6 perf, 1 side, horizontal spherical spherical


Silent film standard Wm. Dickson & T. Edison 1892 Blacksmith Scene 35 mm 1.33 0.980" × 0.735" 4 perf, 2 sides spherical 35 mm 1.33 0.931" × 0.698" spherical


Bioscop Max Skladanowsky 1892 footage of Emil Skladanowsky 54 mm unperforated (camera); 4 perf, 2 sides (projection) spherical 54 mm (two strips interleaved) spherical


Eidoloscope[4] Woodville Latham 1895 51 mm 1.85 1.457" × 0.787" 4 perf, 2 sides spherical 51 mm 1.85 spherical


Cinematographe Lumière Brothers 1895 La Sortie des Usines Lumiere 35 mm 1.33 0.980" × 0.735" 1 perf, 2 sides (rounded) spherical 35 mm 1.33 spherical


Biograph Wm. Dickson & Herman Casler 1895 Sparring Contest at Canastota 68 mm 1.35 2.625" × 1.938" 1 perf, 2 sides (punched in-camera) spherical 68 mm spherical


Joly-Normandin Henri Joly 1895 60 mm 5 perf, 2 sides spherical 60 mm spherical


1896 60 mm 1.40 1.750" × 1.250" unperforated spherical 60 mm 1.40 spherical


Chronophotographe 1896 60 mm 1.40 1.750" × 1.250" 4 perf, 2 sides spherical 60 mm 1.40 spherical


1896 38 mm 2 perf, 2 sides spherical 38 mm spherical


Veriscope Enoch Rector 1897 The Corbett-Fitzsimmons Fight 63 mm 1.66 1.875" × 1.125" 5 perf, 2 sides spherical 63 mm spherical


1897 48 mm 1.50 1.500" × 1.000" 1 perf? spherical 48 mm spherical


Birt Acres 1898 unknown (amateur format) 17.5 mm 2 perf, 1 side spherical 17.5 mm spherical


1899 unknown (amateur format) 17.5 mm 1.60 0.630" × 0.394" 1 perf, center spherical 17.5 mm spherical


John Alfred Prestwich 1899 unknown (amateur format) 13 mm spherical 13 mm spherical


1900 unknown (amateur format) 21 mm 1 notch, 2 sides spherical 21 mm spherical


Lumière Brothers 1900 75 mm 1.33 2.362" × 1.772" 8 perf, 2 sides spherical 75 mm 1.33 spherical


Cinéorama R. Grimoin-Sanson 1900 Cinéorama 70 mm × 10 cameras (360°) 4 perf? spherical 70 mm × 10 projectors (360°) spherical


1900 unknown (amateur format) 17.5 mm 1.60 0.630" × 0.394" 1 perf, center (smaller and less rectangular than Biokam) spherical 17.5 mm spherical


1900 unknown (amateur format) 15 mm 1 perf, center spherical 15 mm spherical


William Wardell 1902 unknown (amateur format) no standard no standard no standard 1 perf, center spherical 11 mm spherical


Edison 1912 unknown (amateur format) no standard no standard no standard no standard spherical 22 mm, 2 perf (on frameline between frame rows) 1.5 0.236" × 0.157" (three frames across width) spherical


Pathe Kok Pathé 1912 unknown (amateur format) 28 mm 1.36 0.748" × 0.551" 3 perf on one side, 1 perf on the other spherical 28 mm spherical


Alexander F. Victor 1912 unknown (amateur format) 17.5 mm 2 perfs, center spherical 17.5 mm spherical


[5] Filoteo Alberini 1914 70 mm 2.52 5 perf, 2 sides spherical 70 mm spherical


1915 35 mm 1.33 0.980" × 0.735" 4 perf, 2 sides (shooting) spherical 35 mm 1.87 0.735" × 0.394" spherical (split image 90° rotated)


(American) 1916 unknown (amateur format) 11 mm 1 perf, center spherical 11 mm spherical


1917 unknown (amateur format) 17.5 mm 2 perfs, 2 sides (rounded) spherical 17.5 mm spherical


Alexander F. Victor 1918 unknown (amateur format) 28 mm 1.36 0.748" × 0.551" 3 perf, 2 sides spherical 28 mm spherical


(Austrian) 1920 unknown (amateur format) 17.5 mm 2 perf, 2 sides spherical 17.5 mm spherical


(French) 1920 unknown (amateur format) 26 mm 1 perf, 1 side spherical 26 mm spherical


9.5 mm Pathé 1922 unknown (amateur format) 9.5 mm 1.31 0.335" × 0.256" 1 perf, center spherical 9.5 mm 1.31 0.315" × 0.242" spherical


Phonofilm Lee De Forest 1922 Barking Dog and Flying Jenny Airplane 35 mm 1.33 0.980" × 0.735" 4 perf, 2 sides spherical 35 mm 1.17 0.826" × 0.708" spherical


[6] & George W. Bingham 1922 35 mm × 2 (both in same camera) 1.33 × 2 negatives 0.980" × 0.735" 4 perf, 2 sides spherical (one lens per strip) 35 mm × 2 projectors 2.66 0.931" × 0.698" spherical


1922 unknown (amateur format) 22 mm 2 perf, 2 sides spherical 22 mm spherical


[6] Tri-Ergon 1922 35 mm 1.33 0.980" × 0.735" 4 perf, 2 sides spherical 42 mm 1.33 0.931" × 0.698" spherical


16 mm[7] Eastman Kodak 1923 unknown (amateur format) 16 mm 1.37 0.404" × 0.295" 1 perf, 1 or 2 sides spherical 16 mm 1.37 0.378" × 0.276" spherical


1923 unknown (amateur format) 11 mm 2 perf, 2 sides (rounded) spherical 11.5 mm spherical


1924 35 mm 1.66 1.575" × 0.945" (curved) 10 perf, 2 sides, horizontal spherical, on 65° revolving drum 35 mm spherical


1924 unknown (amateur format) 24 mm spherical 24 mm spherical


1924 48 mm 1.32 1.969" × 1.496" horizontal spherical 35 mm 1.33 0.931" × 0.698" spherical


[8] George K. Spoor & 1925 Niagara Falls and Rollercoaster Ride 63.5 mm 1.84 2.060" × 1.120" 6 perf, 2 sides, 20 frame/s spherical 63.5 mm 2.00 spherical


(French) 1925 unknown (amateur format) 13 mm 4 perf, center spherical 13 mm spherical


(Russian) 1925 unknown (amateur format) 18 mm 1 perf, 2 sides spherical 18 mm spherical


Pathé 1926 unknown (amateur format) 17.5 mm 1.35 (silent); 1.30 (sound) 0.516" × 0.382" (silent); 0.445" × 0.343" (sound) 1 perf, 2 sides spherical 17.5 mm 1.33 (silent); 1.26 (sound) 0.472" × 0.354" (silent); 0.445" × 0.343" (sound) spherical


[6] & George W. Bingham 1926 57 mm 5 perf, 2 sides spherical 57 mm spherical


[5] 1926 Old Ironsides 35 mm 1.33 0.980" × 0.735" 4 perf, 2 sides spherical 35 mm 1.33 0.931" × 0.698" spherical (selected scenes projected using a wider lens for larger picture)


Fox Movietone F. H. Owens, T. Case, Tri-Ergon 1927 Sunrise 35 mm 1.33 0.980" × 0.735" 4 perf, 2 sides spherical 35 mm 1.17 0.826" × 0.708" spherical


Polyvision[9] Abel Gance 1927 Napoléon 35 mm × 3 cameras 1.33 × 3 negatives 0.980" × 0.735" 4 perf, 2 sides spherical 35 mm × 3 projectors 4.00 0.931" × 0.698" spherical


Henri Chrétien 1927 35 mm 2.66 0.980" × 0.735" 4 perf, 2 sides 2× anamorphic 35 mm 2.66 0.931" × 0.698" 2× anamorphic


[10] 1929 You're in the Army Now 56 mm 2.19 1.620" × 0.740" 4 perf, 2 sides spherical 56 mm 2.00 spherical


Fox Grandeur[10] Fox Film Corporation 1929 Fox Grandeur News and Fox Movietone Follies of 1929 70 mm 2.07 1.890" × 0.913" 4 perf, 2 sides, 20 frame/s (before 1930) spherical 70 mm 2.00 1.768" × 0.885" spherical


[11] 1929 35 mm 2.27 1.813" × 0.800" 10 perfs, 2 sides, horizontal spherical 35 mm, horizontal spherical


 /
 /
[12] 		1930 Kismet 65 mm 2.00 1.811" × 0.906" 5 perf, 2 sides spherical 65 mm 2.05 1.772" × 0.866" spherical


[11] MGM 1930 Billy the Kid 70 mm 2.07 1.890" × 0.913" 4 perf, 2 sides spherical 35 mm 1.75 0.904" × 0.517" spherical


[13] Fox Film Corporation & SMPE 1930 50 mm 1.80 1.325" × 0.735" spherical 50 mm 1.80 1.305" × 0.725" spherical


(French) 1930 unknown (amateur format) 17 mm 1 perf, 1 side spherical 17 mm spherical


George Palmer 1930 35 mm 1.33 0.980" × 0.735" 4 perf, 2 sides spherical 35 mm 1.17 0.826" × 0.708" spherical (with a special projection zoom lens zooming wider and opening masking for key sequences)


1931 unknown (amateur format) 16 mm 4 sequential images per frame 1 perf, 2 sides spherical 16 mm spherical


Academy format[14] AMPAS 1932 35 mm 1.375 (commonly abbreviated to 1.37) 0.868″ × 0.631″ 4 perf, 2 sides spherical 35 mm 1.37 0.825″ × 0.600″ spherical


8 mm Eastman Kodak 1932 unknown (amateur format) 16 mm 1.32 0.192" × 0.145" 1 perf, 1 side (using 16 mm film with twice as many perfs) spherical 8 mm 1.33 0.172" × 0.129" spherical


Straight 8 Bell & Howell 1935 unknown (amateur format) 8 mm 1.32 0.192" × 0.145" 1 perf, 1 side spherical 8 mm 1.33 0.172" × 0.129" spherical


Fred Waller 1939 16 mm × 11 cameras 1.37 × 11 negatives 0.404" × 0.295" 1 perf, 2 sides spherical 16 mm × 11 projectors hemispherical view 0.378" × 0.276" spherical


Waller Flexible
Gunnery Trainer 		Fred Waller 1943 US Air Force interactive training exercise 35 mm × 5 cameras 1.37 × 5 negatives 0.866" × 0.630" 4 perf, 2 sides spherical 35 mm × 5 projectors hemispherical view 0.825" × 0.602" spherical


Cinerama[15] Fred Waller 1952 This is Cinerama 35 mm × 3 cameras 2.59 (3 × negatives) 0.996" × 1.116" 6 perf, 2 sides at 26 frame/s spherical 35 mm × 3 projectors, with 6 perf pulldown 2.59, with 146° curved screen 0.985" × 1.088" spherical


[14] Paramount 1953 Shane 35 mm 1.37 0.866" × 0.630" 4 perf, 2 sides spherical 35 mm 1.66 0.825" × 0.497" spherical


[14] Universal 1953 Thunder Bay 35 mm 1.37 0.866" × 0.630" 4 perf, 2 sides spherical 35 mm 1.85 0.825" × 0.446" spherical


MGM 1953 Arena 35 mm 1.37 0.866" × 0.630" 4 perf, 2 sides spherical 35 mm 1.75 0.825" × 0.471" spherical


Cinemascope[16] 20th Century Fox 1953 The Robe 35 mm 2.55 (1953–57); 2.35 (1957–67) 0.937" × 0.735" (1953–57); 0.868" × 0.735" (1957–67) 4 perf, 2 sides 2× anamorphic 35 mm 2.55 (1953–57); 2.35 (1957–67) 0.912" × 0.715" (1953–57); 0.839" × 0.715" (1957–67) 2× anamorphic


Arnoldscope[17] John Arnold 1953 35 mm 10 perf, 2 sides, horizontal spherical


VistaVision[18] Paramount 1954 White Christmas 35 mm 1.51 1.495" × 0.991" 8 perf, 2 sides, horizontal spherical 35 mm, 4 perf, vertical 1.85 0.825" × 0.446" spherical


[18][19] Paramount 1954 White Christmas 35 mm 1.51 1.495" × 0.991" 8 perf, 2 sides, horizontal spherical 35 mm, 8 perf, horizontal 1.96 1.418" × 0.723" spherical


Superscope[20] 1954 Vera Cruz 35 mm 1.33 0.980" × 0.735" 4 perf, 2 sides spherical 35 mm 2.00 0.715" × 0.715" 2× anamorphic


Circarama[21] Disney 1955 16 mm × 11 cameras 1.37 × 11 negatives 0.404" × 0.295" 1 perf, 2 sides spherical 16 mm × 11 projectors 360° 0.378" × 0.276" spherical


Todd-AO[22][23] Michael Todd 1955 Oklahoma 65 mm 2.29 2.072" × 0.906" 5 perfs, 2 sides, at 30 frame/s spherical 70 mm 2.21, with 120° curved screen 1.912" × 0.870" spherical


CinemaScope 55[24] 20th Century Fox 1955 Carousel 55 mm 2.55 1.824" × 1.430" 8 perfs, 2 sides 2× anamorphic 35 mm 2.55 0.912" × 0.715" 2× anamorphic


[25] 1955 ? 9.5 mm 1.51 4.1 mm × 6.2 mm 2 central perforations in a 9.5mm film spherical 4.75 mm spherical, rotated 90°


[26] 1955 ? 16 mm 1.5 5 mm × 7.5 mm 1 perf, 2 sides spherical 8 mm spherical, rotated 90°


[27] 1955 ? 16 mm 2.7 3.5 mm × 9.6 mm 2 perf, 2 sides spherical 16 mm spherical


Technirama[28] Technicolor 1956 The Monte Carlo Story 35 mm 2.26 1.496" × 0.992" 8 perf, 2 sides, horizontally 1.5× anamorphic 35 mm, 4 perf vertical 2.35 0.839" × 0.715" 2× anamorphic


[28] Technicolor 1956 The Monte Carlo Story 35 mm 2.26 1.496" × 0.992" 8 perf, 2 sides, horizontally 1.5× anamorphic 35 mm, 8 perf horizontal 2.42 1.421" × 0.881" 1.5× anamorphic


[29] 1956 35 mm 1.3, 1.6, and 2.5 variable aperture plates 8 perf, 2 sides, horizontally spherical 35 mm, 4 perf, vertical 1.3, 1.5, and 2.5 spherical


Superscope 235[20] 1956 Run for the Sun 35 mm 1.33 0.980" × 0.735" 4 perf, 2 sides spherical 35 mm 2.35 0.839" × 0.715" 2× anamorphic


[30] Albert H. Reynolds 1956 35 mm × 2 cameras 1.78 × 2 negatives 3 perf, 2 sides? spherical 35 mm × 2 projectors 3.55, with a curved screen spherical


[9] Abel Gance 1956 35 mm × 3 cameras (sides bounced off mirrors) 1.33 × 3 negatives 0.980" × 0.735" 4 perf, 2 sides spherical 35 mm × 3 projectors (sides bounced off mirrors) 4.00 0.931" × 0.698" spherical


MGM Camera 65 Panavision 1957 Raintree County 65 mm 2.76 2.072" × 0.906" 5 perf, 2 sides 1.25× anamorphic 70 mm 2.76 1.912" × 0.870" 1.25× anamorphic


Ultra Panavision[31] Panavision 1962 Mutiny on the Bounty 65 mm 2.76 2.072" × 0.906" 5 perf, 2 sides 1.25× anamorphic 70 mm 2.76 1.912" × 0.870" 1.25× anamorphic


[32] Mike Todd 1957 Around the World in 80 Days 65 mm 2.29 2.072" × 0.906" 5 perfs, 2 sides spherical 35 mm (1 mm shaved off for UK prints) 2.12 0.912" × 0.675" 1.567× anamorphic


1957 35 mm 1.51 1.495" × 0.991" 8 perf, 2 sides, horizontally spherical 35 mm, 4 perf, vertical 1.82 0.825" × 0.602" 1.33× anamorphic


Modern anamorphic[33] Panavision 1958 The Female Animal 35 mm 2.37 0.866" × 0.732" 4 perf, 2 sides 2× anamorphic 35 mm 2.35 (1957–70); 2.39 (1970–present) 0.839" × 0.715" (1957–70); 0.838" × 0.7" (1970–93); 0.825" × 0.690" (1993–present) 2× anamorphic


Kinopanorama[34] 1958 Great Is My Country 35 mm × 3 cameras 0.91 × 3 negatives 1.014" × 1.116" 6 perf, 2 sides, at 25 frame/s spherical 35 mm × 3 projectors 2.72 0.985" × 1.088" spherical


70 mm[22][35] American Optical Company 1958 South Pacific 65 mm 2.28 2.066" × 0.906" 5 perfs, 2 sides spherical 70 mm 2.21 1.912" × 0.87" spherical


Cinemiracle[36] 1958 Windjammer 35 mm × 3 cameras (sides bounced off mirrors) 0.89 × 3 negatives 0.996" × 1.116" 6 perf, 2 sides at 26 frame/s spherical 35 mm × 3 projectors (sides bounced off mirrors), with 6 perf pulldown 2.59, with 120° curved screen 0.985" × 1.088" spherical


Super Technirama[28] Technicolor 1959 Sleeping Beauty 35 mm 2.26 1.496" × 0.992" 8 perf, 2 sides, horizontally 1.5× anamorphic 70 mm 2.21 1.912" × 0.816" spherical


[37] Rowe E. Carney Jr. and Tom F. Smith 1959 Missouri travelogue 35 mm 4.69 0.839" × 0.370" (bottom half) and 0.449" × 0.370" (top quarters) 4 perf, 2 sides spherical × 3 35 mm 4.69 three sub-frames projected to one 180° image spherical × 3


Circular Kinopanorama / [38] 1959 35 mm × 11 cameras 1.37 × 11 negatives 0.866" × 0.630" 4 perf, 2 sides spherical 35 mm × 11 projectors 360° 0.825" × 0.602" spherical


[39] Jan Jacobsen 1959 Flying Clipper 65 mm 2.28 2.066" × 0.906" 5 perfs, 2 sides spherical 70 mm variable framing run through control signal 1.912" × 0.87" spherical


[40] Ford Motor Company 1959 Design for Suburban Living showtent ? mm × 4 cameras ? × 4 negatives spherical ? mm × 4 projectors ? (4 images in 2×2 configuration) spherical


Techniscope[41] Technicolor 1960 The Pharaoh's Woman 35 mm 2.33 0.868" × 0.373" 2 perf, 2 sides spherical 35 mm 2.39 0.838" × 0.7" 2× anamorphic


Wonderama (Arc 120)[42] Leon W. Wells 1960 Honeymoon no standard no standard no standard no standard no standard 35 mm 2.50 with a 120° curved screen 0.931" × 0.698", with two half-images turned 90° and placed side-by-side spherical × 2


[43][44] 1960 USAF and NASA usage 3 mm 1 perf, centered spherical


[45] 20th Century Fox 1961 The King and I (re-release) 55 mm 2.55 1.824" × 1.430" 8 perfs, 2 sides 2× anamorphic 70 mm 2.21 1.912" × 0.87" spherical


[42] 1962 65 mm 1.00 (circle) 2.25" diameter circular image 10 perf, 2 sides fisheye 70 mm 1.00 (circle) 2.25" diameter circular image spherical


Super 8 Eastman Kodak 1965 unknown (amateur format) 8 mm 1.48 0.245" × 0.166" 1 perf, 1 side spherical 8 mm 1.36 0.215" × 0.158" spherical


[citation needed] Kenner 1965 no standard no standard no standard 1 perf, 1 side spherical 11.5 mm 1.33 0.172" × 0.129" spherical


Double Super 8[citation needed] Eastman Kodak 1965 unknown (amateur format) 16 mm 1.48 0.245" × 0.166" 1 perf, 1 side (using 16 mm film with twice as many perfs) spherical 8 mm 1.36 0.215" × 0.158" spherical


Single-8[46] Fujifilm 1966 unknown (amateur format) 8 mm 1.36 0.224" × 0.164" 1 perf, 1 side spherical 8 mm 1.35 0.213" × 0.157" spherical


Dimension 150[47] American Optical Company 1966 The Bible: In the Beginning 65 mm 2.28 2.066" × 0.906" 5 perfs, 2 sides spherical 70 mm 2.21, with 150° curved screen 1.912" × 0.87", optically curved to compensate for the screen spherical


Circle Vision 360[38] Disney 1967 America the Beautiful 35 mm × 9 cameras 1.37 × 9 negatives 0.866" × 0.630" 4 perf, 2 sides spherical 35 mm × 9 projectors 360° 0.825" × 0.602" spherical


[48] Shanghai Film Projection Equipment Factory 1968 unknown (amateur format) 1 perf spherical 8.75 mm spherical


Astrovision[49] 1969 65 mm 10 perf, 2 sides spherical or fish-eye 70 mm fish-eye (dome projection)


IMAX[50] IMAX Corporation 1970 Tiger Child 65 mm 1.34 2.772" × 2.072" 15 perf, 2 sides, horizontally spherical 70 mm, horizontal 1.31 2.692" × 2.056" spherical


Super 16 mm film[7] Rune Ericson 1970 Blushing Charlie 16 mm 1.66 0.493" × 0.292" 1 perf, 1 side spherical no standard, but often blown up to 35 mm no standard 0.463" × 0.279" (full frame); 0.463" × 0.251" (framed for 1.85) spherical


[51] 1972 no standard no standard no standard no standard no standard 70 mm, horizontal, 1 perf, 2 sides 1.48 0.245" × 0.166", 12 rows high, underneath 12 rows of optical sound spherical


OMNIMAX[52] IMAX Corporation 1973 Garden Isle 65mm 1.34 2.772" × 2.072" 15 perf, 2 sides, horizontally special fish-eye lenses optically centered 0.37" above film horizontal center line 70 mm, horizontal 1.31 2.692" × 2.056" spherical, projected elliptically on a dome screen, 20 degrees below and 110 degrees above perfectly centered viewers


8/70 (Dynavision,
)[53] 		Dynavision 1973? 65 mm 1.37 2.031" × 1.484" 8 perf, 2 sides, 24 or 30 frame/s spherical 70 mm 1.34 1.913" × 1.431" spherical


Showscan[54] Douglas Trumbull 1978 65 mm 2.28 2.066" × 0.906" 5 perfs, 2 sides, at 60 frame/s spherical 70 mm, at 60 frame/s 2.21 1.912" × 0.87" spherical


Polavision[55] Polaroid Corporation 1978 unknown (amateur format) 8 mm 1.48 0.245" × 0.166" 1 perf, 1 side spherical 8 mm 1.36 0.215" × 0.158" spherical


[56] 1979 65 mm 2.28 2.066" × 0.906" 5 perfs, 2 sides, 30 frame/s fisheye 70 mm 180°, on a dome 1.912" × 0.87" fisheye


Super 35[57] 1982 Dance Craze 35 mm 1.33 0.980" × 0.735" 4 perf, 2 sides spherical 35 mm no standard no standard no standard


[58] Disney 1982 Impressions de France 35 mm × 5 cameras 1.37 × 5 negatives 0.866" × 0.630" 4 perf, 2 sides spherical 35 mm × 5 projectors 6.85, on a 200° screen 0.825" × 0.602" spherical


/ [59] 1984 65 mm 360° 1.91" (outer edge), 1.20" (inner edge) 10 perf, 2 sides 360° × 35° extreme fisheye 70 mm 360° 360° × 35° extreme fisheye


Super Duper 8 /
 /
[60][61] 		& mid- 1980s (2002) 8 mm 1.51 0.250" × 0.166" 1 perf, 1 side spherical 8 mm no standard no standard spherical


3-perf[62] Rune Ericson 1987 35 mm 1.79 0.980" × 0.546" 3 perf, 2 sides spherical 35 mm no standard no standard no standard


[63] Paramount 1989 The Ten Commandments (re-release) 35 mm 1.51 1.495" × 0.991" 8 perf, 2 sides, horizontal spherical 70 mm 2.21 1.912" × 0.87" spherical


Kinoton HDFS[64] Kinoton 1990 no standard no standard no standard no standard no standard 35 mm 2.00 0.931" × 0.698" 1.5× anamorphic


IMAX Magic Carpet[65] IMAX Corporation 1990 65 mm × 2 cameras 1.34 2.772" × 2.072" 15 perf, 2 sides, horizontally spherical 70 mm, horizontal × 2 projectors 1.31 × 2 screens (one in front, one below) 2.692" × 2.056" spherical


[66] Iwerks 1991 65 mm 1.37 2.031" × 1.484" 8 perf, 2 sides, 24 or 30 frame/s fisheye 70 mm 1.34 1.913" × 1.431" fisheye


IMAX HD[67] IMAX Corporation 1992 65 mm 1.34 2.772" × 2.072" 15 perf, 2 sides, horizontally, 48 frame/s spherical 70 mm, horizontal 1.31 2.692" × 2.056" spherical


[68] (Australian) 1992 Expo '92 demo 35 mm × 6 cameras 1.37 × 6 negatives 0.866" × 0.630" 4 perf, 2 sides spherical 35 mm × 6 projectors 360°, with rotating screens and projectors 0.825" × 0.602" spherical


[56] 1992 35 mm × 3 cameras 1.37 × 3 negatives 0.866" × 0.630" 4 perf, 2 sides, at 30 frame/s spherical 70 mm × 3 projectors, at 30 frame/s 360° 1.912" × 0.87" spherical


[13] 1992? 35 mm 2.08 2.040" × 0.980" 12 perf, 2 sides, horizontal spherical 70 mm 2.21 1.912" × 0.87" spherical


Univisium[69] Vittorio Storaro 1998 Tango 35 mm 2.00 0.945" × 0.472" 3 perf, 2 sides at 25 frame/s spherical 35 mm 2.00 spherical


Maxivision[70] Dean Goodhill 1999 35 mm 1.79 0.980" × 0.546" 3 perf, 2 sides spherical 35 mm, 3 perf 1.85 spherical


Maxivision 48[70] Dean Goodhill 1999 35 mm 1.79 0.980" × 0.546" 3 perf, 2 sides, 48 frame/s spherical 35 mm, 3 perf, 48 frame/s 1.85 spherical


[71] 1999 65 mm 2.28 2.066" × 0.906" 5 perfs, 2 sides, at 48 frame/s spherical 70 mm, at 48 frame/s 2.21 1.912" × 0.87" spherical


[49] 65 mm 1.52 2.066" × 0.906" 5 perfs, 2 sides, 30 frame/s 1.5× vertical anamorphic 70 mm 1.47 1.912" × 0.87" 1.5× vertical anamorphic


[72] 35 mm 2.66 2 perf, 2 sides, 30 frame/s spherical 35 mm 2.66 spherical


[73] 65 mm 2.28 2.066" × 0.906" 5 perfs, 2 sides, 30 frame/s spherical 70 mm 2.21, on a curved screen 1.912" × 0.87" spherical


[74] 35 mm 20 rows of images wide spherical spherical


[49] ? mm × 7 cameras 1.33 × 7 negatives spherical ? mm × 7 projectors hemispherical view spherical


[75] Fred Waller 35 mm curved gate 16 perf, 2 sides, horizontal spherical 35 mm, horizontal curved screen spherical


[76] 65 mm 10 perf, 2 sides 2× anamorphic 70 mm 2.09 1.890" × 1.811" 2× anamorphic


[76] 35 mm spherical 35 mm variable framing run through control signal 0.835" × 0.713" (full); 0.835" × 0.453" (1.84); 0.709" × 0.524" (1.35); 0.614" × 0.614" (1.00); 0.535" × 0.713" (0.75) spherical


[76] 35 mm 35 mm variable framing run through control signal 0.835" × 0.713" variable anamorphic (2× for 2.35; 1.57× for 1.85; 1.17× for 1.37; 0.85× for 1.00; 0.64× for 0.75; 0.5× for 0.59)


[76] 65 mm 10 perfs, 2 sides spherical 70 mm variable framing run through control signal 1.890" × 1.811" (full); 1.890" × 0.803" (2.35); 1.673" × 0.906" (1.85); 1.441" × 1.051" (1.37); 1.232" × 1.232" (1.00); 1.063" × 1.429" (0.74); 0.945" × 1.604" (0.59); 0.839" × 1.811" (0.46) spherical


Format Creator Est. First
known work 		Negative
gauge 		Negative
A/R[1] 		Gate
dims 		Negative
pulldown 		Negative
lenses 		Projection
gauge 		Projection
A/R[1] 		Projection
dims 		Projection
lenses

See also[]

Notes[]

  1. ^ Jump up to: a b c d e f Strictly speaking, aspect ratios for film are always expressed as the ratio of 1 and are formatted as x:y, e.g. 1.85:1. However, in the interest of formatting, the aspect ratios listed will assume the ratio of 1 and omit the :1 suffix.
  2. ^ Burns, R.W., Television: An International History of the Formative Years, p. 71, Institution of Electrical Engineers, 1991.
  3. ^ Scott, E. Kilburn, "The Career of L. A .A. Le Prince", Adventures in Cybersound. Retrieved 2008-05-17.
  4. ^ Hiller, John. "Film History for the Public: The First National Movie Machine Collection", Film History, v. 11, n. 3, p. 373. Indiana University Press, 1999.
  5. ^ Jump up to: a b Sherlock, p. 3.
  6. ^ Jump up to: a b c Sherlock, p. 40.
  7. ^ Jump up to: a b Hummel, p. 16.
  8. ^ Sherlock, p. 5-6.
  9. ^ Jump up to: a b Sherlock, p. 4.
  10. ^ Jump up to: a b Sherlock, p. 5.
  11. ^ Jump up to: a b Sherlock, p. 6.
  12. ^ Sherlock, p. 6-7.
  13. ^ Jump up to: a b Sherlock, p. 59.
  14. ^ Jump up to: a b c Hummel, p. 10.
  15. ^ Hart, Cinerama Specs.
  16. ^ Hart, CinemaScope Specs and Of Apertures and Aspect Ratios.
  17. ^ Hart, Ultra Panavision, p. 1.
  18. ^ Jump up to: a b Hart, VistaVision Specs.
  19. ^ Sherlock, p. 27.
  20. ^ Jump up to: a b Hart, SuperScope Specs.
  21. ^ Sherlock, p. 19-20.
  22. ^ Jump up to: a b Even after slowing down the frame rate from 30 to 24 frame/s, Todd AO productions retained the use of the same trade name on the 24 frame/s films. There is no difference between 24 frame/s Todd AO, Super Panavision, and what is otherwise referred to as standard 65/70 mm.
  23. ^ Hart, Todd A.O. Specs.
  24. ^ Hart, CinemaScope Specs.
  25. ^ Patrice-Hervé Pont, Jean Loup Princelle: 50 Ans de Caméras Françaises, Le Reve Édition, Ondrevill sur Essone, France, 2007, ISBN 2-9522521-3-0, page 107
  26. ^ Patrice-Hervé Pont, Jean Loup Princelle: 50 Ans de Caméras Françaises, Le Reve Édition, Ondrevill sur Essone, France, 2007, ISBN 2-9522521-3-0, --> page num 51
  27. ^ Patrice-Hervé Pont, Jean Loup Princelle: 50 Ans de Caméras Françaises, Le Reve Édition, Ondrevill sur Essone, France, 2007, ISBN 2-9522521-3-0, --> page num 59
  28. ^ Jump up to: a b c Hart, Technirama Specs.
  29. ^ Sherlock, p. 58.
  30. ^ Hart, Thrillarama
  31. ^ Hart, Ultra Panavision Specs.
  32. ^ Sherlock, p. 31.
  33. ^ Hummel, p. 13.
  34. ^ Sherlock, p. 11-12.
  35. ^ Hummel, p. 17.
  36. ^ Hart, Cinemiracle Specs.
  37. ^ Hart, The Smith-Carney System.
  38. ^ Jump up to: a b Sherlock, p. 19.
  39. ^ Fromm, Gerhard. "The Work of Jan Jacobsen", ..in 70 mm: The 70 mm Newsletter, Issue 57 (June 1999). Retrieved 2008-12-01.
  40. ^ Nilsen, Sarah Dawn. Projecting America: Films at the Brussels World's Fair of 1958, p. 96. University of Southern California Press, 2000.
  41. ^ Hart, Techniscope Specs.
  42. ^ Jump up to: a b Sherlock, p. 18.
  43. ^ Nystrom
  44. ^ "Film Gauges". Preservation Glossary. National Film and Sound Archive. Archived from the original on 2009-02-21.
  45. ^ Hart, CinemaScope, p. 6.
  46. ^ "Viewpoint Japan", The British Journal of Photography, December 3, 1965, p. 1050.
  47. ^ Sherlock, p. 17-18.
  48. ^ Clark, Paul. The Chinese Cultural Revolution: A History, p. 146. Cambridge: Cambridge University Press, 2008.
  49. ^ Jump up to: a b c Sherlock, p. 37.
  50. ^ Hummel, p. 18.
  51. ^ "Pik-A-Movie", British Kinematography Sound and Television, August 1973. Retrieved 2008-07-07.
  52. ^ Hummel, p. 18-19.
  53. ^ Hummel, p. 19.
  54. ^ Sherlock, p. 39
  55. ^ Giambarba, Paul. The Branding of Polaroid 1957–1977, Chapter 18, 2004-09-01. Retrieved 2008-07-07.
  56. ^ Jump up to: a b Aridi, Sal (July–December 2000). "Large Format Cinematography". Operating Cameraman. Archived from the original on 2008-06-29.
  57. ^ Hummel, p. 11.
  58. ^ Sherlock, p. 20
  59. ^ Piccolin, Lukas. "All-Around Cinema", in70mm.com, 2004-10-01. Retrieved 2008-07-07.
  60. ^ Vigeant, Phil. Technical schematic drawings of Max8 format, Pro8mm, 2005-11-09.
  61. ^ www.jelve.com. "Sleep Always lift article". www.friendlyfirefilms.com.
  62. ^ Hummel, p. 20.
  63. ^ "Upcoming Re-release of Vertigo", Los Angeles Times, 1996-06-16. Retrieved 2008-07-07.
  64. ^ Lobban, Grant. "Widescreen and 3D Formats Wallchart", BKSTS. [year unknown]
  65. ^ Schwartzberg, Schlomo. "IMAX: Oscar nominated Canadian company on the leading edge of technology" Archived 2009-02-15 at the Wayback Machine, Performing Arts and Entertainment in Canada, Spring 1993. Retrieved 2008-07-07.
  66. ^ Katz, Stephen Douglas. Film Directing Shot by Shot: Visualizing from Concept to Screen, p. 330. Michael Wiese Productions, 1991.
  67. ^ Naimark, "Giant Rectangular Screens".
  68. ^ Naimark, "Cylindrical Screens".
  69. ^ Storaro, Vittorio. Storaro's notes on Univision, date unknown. Retrieved on 2006-12-01.
  70. ^ Jump up to: a b Hindes, Andrew. Sticking with 35mm, Variety, 1999-04-19. Retrieved 2008-05-16.
  71. ^ Weisgerber, Robert. Super Dimension 70: New 70 mm Process Demonstrated, in70mm.com, Issue 63 (March 2001). Retrieved 2008-05-17.
  72. ^ Lobban, Grant. "Film Gauges and Soundtracks Wallchart", BKSTS. [year unknown]
  73. ^ Motion Master[dead link], Screen Digest, October 1, 1995. Retrieved 2008-05-17.
  74. ^ Nystrom, sidebar.
  75. ^ Kimble, Greg. "This Is Cinerama!": Cinerama's 50th Anniversary, part 4 Archived 2008-04-01 at the Wayback Machine, in70mm.com, 2002-06-10. Retrieved 2008-05-16.
  76. ^ Jump up to: a b c d Sherlock, p. 58

References[]

Further reading[]

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