List of motion picture film formats - Wikipedia
- ️Sat May 17 2008
This list of motion picture 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.).
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.
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 Paper film[3] Louis Le Prince 1888 Roundhay Garden Scene 65 mm 1.00 unperforated spherical not known 1.00 spherical Machine Camera Wm. Friese-Greene 1889 Hyde Park Corner & Marble Arch 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 Kinesigraph Wordsworth Donisthorpe 1890 or 1891 view of Trafalgar Square 70 mm 1.00 unperforated spherical Friese-Greene Wm. Friese-Greene 1891 King's Road, Chelsea, London 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 Griffo-Barnett Prize Fight 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 Biographe Demeny-Gaumont 1896 60 mm 1.40 1.750" × 1.250" unperforated spherical 60 mm 1.40 spherical Chronophotographe Demeny-Gaumont 1896 60 mm 1.40 1.750" × 1.250" 4 perf, 2 sides spherical 60 mm 1.40 spherical Sivan-Dalphin Casimir Sivan and E. Dalphin 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 Viventoscope Thomas Henry Blair 1897 48 mm 1.50 1.500" × 1.000" 1 perf? spherical 48 mm spherical Birtac Birt Acres 1898 unknown (amateur format) 17.5 mm 2 perf, 1 side spherical 17.5 mm spherical Biokam T. C. Hepworth 1899 unknown (amateur format) 17.5 mm 1.60 0.630" × 0.394" 1 perf, center spherical 17.5 mm spherical Prestwich 13 mm John Alfred Prestwich 1899 unknown (amateur format) 13 mm spherical 13 mm spherical Mirograph Reulos, Goudeau & Co 1900 unknown (amateur format) 21 mm 1 notch, 2 sides spherical 21 mm spherical Lumiere Wide 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 La Petite (Hughes) W.C. Hughes 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 Pocket Chrono Gaumont Demeny 1900 unknown (amateur format) 15 mm 1 perf, center spherical 15 mm spherical Vitak William Wardell 1902 unknown (amateur format) no standard no standard no standard 1 perf, center spherical 11 mm spherical Home Kinetoscope 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 Duoscope Alexander F. Victor 1912 unknown (amateur format) 17.5 mm 2 perfs, center spherical 17.5 mm spherical Panoramico[5] Filoteo Alberini 1914 Il sacco di Roma 70 mm 2.52 5 perf, 2 sides spherical 70 mm spherical Split Duplex Duplex Corporation 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) 11 mm (American) 1916 unknown (amateur format) 11 mm 1 perf, center spherical 11 mm spherical Movette Movette Camera Company 1917 unknown (amateur format) 17.5 mm 2 perfs, 2 sides (rounded) spherical 17.5 mm spherical 28 mm safety standard Alexander F. Victor 1918 unknown (amateur format) 28 mm 1.36 0.748" × 0.551" 3 perf, 2 sides spherical 28 mm spherical Clou (Austrian) 1920 unknown (amateur format) 17.5 mm 2 perf, 2 sides spherical 17.5 mm spherical 26 mm (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 Widescope[6] John D. Elms & 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 Cinebloc Ozaphan 1922 unknown (amateur format) 22 mm 2 perf, 2 sides spherical 22 mm spherical Tri-Ergon soundfilm[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 Duplex G.J. Bradley 1923 unknown (amateur format) 11 mm 2 perf, 2 sides (rounded) spherical 11.5 mm spherical Alberini-Hill Corrado Cerqua 1924 35 mm 1.66 1.575" × 0.945" (curved) 10 perf, 2 sides, horizontal spherical, on 65° revolving drum 35 mm spherical Cinelux Ozaphan 1924 unknown (amateur format) 24 mm spherical 24 mm spherical 48 mm J.H. Powrie 1924 48 mm 1.32 1.969" × 1.496" horizontal spherical 35 mm 1.33 0.931" × 0.698" spherical Natural Vision[8] George K. Spoor & P. John Berggren 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 13 mm (French) 1925 unknown (amateur format) 13 mm 4 perf, center spherical 13 mm spherical 18 mm (Russian) 1925 unknown (amateur format) 18 mm 1 perf, 2 sides spherical 18 mm spherical Pathe Rural 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 Widevision[6] John D. Elms & George W. Bingham 1926 Natural Vision Pictures 57 mm 5 perf, 2 sides spherical 57 mm spherical Magnascope[5] Lorenzo del Riccio 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: A Song of Two Humans 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 Hypergonar Henri Chrétien 1927 Pour construire un feu 35 mm 2.66 0.980" × 0.735" 4 perf, 2 sides 2× anamorphic 35 mm 2.66 0.931" × 0.698" 2× anamorphic Magnafilm[10] Lorenzo del Riccio 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 Fearless Super Pictures[11] Ralph G. Fear 1929 35 mm 2.27 1.813" × 0.800" 10 perfs, 2 sides, horizontal spherical 35 mm, horizontal spherical Fearless Super-Film /
Magnifilm /
Fox Vitascope[12] Ralph G. Fear 1930 Kismet 65 mm 2.00 1.811" × 0.906" 5 perf, 2 sides spherical 65 mm 2.05 1.772" × 0.866" spherical Realife[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 50 mm[13] Fox Film Corporation & SMPE 1930 50 mm 1.80 1.325" × 0.735" spherical 50 mm 1.80 1.305" × 0.725" spherical 17 mm sound (French) 1930 unknown (amateur format) 17 mm 1 perf, 1 side spherical 17 mm spherical Giant Expanding Pictures 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) Kodel Kemco Homovie Clarence Ogden 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 Vitarama 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 Matted 1.66[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 Matted 1.85[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 Matted 1.75 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 VistaVision Large Area[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] Tushinsky Brothers 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 A Tour of the West 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 9.5 Duplex[25] Pathé Fréres 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° 8 mm Panoramic[26] Dimaphot, Paris 1955 ? 16 mm 1.5 5 mm × 7.5 mm 1 perf, 2 sides spherical 8 mm spherical, rotated 90° Emel Panoscope[27] Emel, Paris 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 Technirama Large Area[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 Dynamic Frame[29] Glenn Alvey 1956 The Door in the Wall 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] Superscope Inc. 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 Thrillarama[30] Albert H. Reynolds 1956 Thrillarama Adventure 35 mm × 2 cameras 1.78 × 2 negatives 3 perf, 2 sides? spherical 35 mm × 2 projectors 3.55, with a curved screen spherical Magirama[9] Abel Gance 1956 Magirama 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 Ben-Hur 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 Cinestage[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 Rank VistaVision J. Arthur Rank Organization 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] NIKFI 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] National Theatres 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 Smith-Carney System[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 / Circlorama[38] E. Goldovsky 1959 The Path of Spring 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 Varioscope[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 Quadravision[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 Cine System 3[43][44] Eric Berndt 1960 USAF and NASA usage 3 mm 1 perf, centered spherical Grandeur 70[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 Cinerama 360[42] Cinerama Corporation 1962 Journey to the Stars 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 Real Sound[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 8.75 mm[48] Shanghai Film Projection Equipment Factory 1968 unknown (amateur format) 1 perf spherical 8.75 mm spherical Astrovision[49] Goto Optical 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 Pik-a-Movie[51] Leon W. Wells 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 65 mm 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,
Iwerks 870)[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 Night of Dreams 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 Cinema 180[56] Omni Films 1979 Crazy Wheels 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] Joe Dunton 1982 Dance Craze 35 mm 1.33 0.980" × 0.735" 4 perf, 2 sides spherical 35 mm no standard no standard no standard Circle Vision 200[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 Swissorama 360 / Imagine 360[59] Ernst A. Heiniger 1984 Impressions of Switzerland 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 /
Max 8 /
Super 8B[60][61] Mitch Perkins & Greg Miller mid- 1980s Sleep Always (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 Pirates of the Lake 35 mm 1.79 0.980" × 0.546" 3 perf, 2 sides spherical 35 mm no standard no standard no standard Super VistaVision[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 Flowers in the Sky 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 Iwerksphere[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 Momentum 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 Hexiplex[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 Ultra Toruscope[56] Mac McCarney 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 Imagination FX 7012[13] Geo-Odyssey 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 Super Dimension 70[71] Robert Weisgerber 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 FuturVision 360[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 Mini-Max[72] Vistascope 35 mm 2.66 2 perf, 2 sides, 30 frame/s spherical 35 mm 2.66 spherical MotionMaster[73] Omni Films 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 Row-film[74] R. Thun 35 mm 20 rows of images wide spherical spherical Septorama[49] ? mm × 7 cameras 1.33 × 7 negatives spherical ? mm × 7 projectors hemispherical view spherical Single Cinerama[75] Fred Waller 35 mm curved gate 16 perf, 2 sides, horizontal spherical 35 mm, horizontal curved screen spherical Soviet 10[76] 65 mm 10 perf, 2 sides 2× anamorphic 70 mm 2.09 1.890" × 1.811" 2× anamorphic Vario-35[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 Vario-35A[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) Vario-70[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
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 Paper film[3] Louis Le Prince 1888 Roundhay Garden Scene 65 mm 1.00 unperforated spherical not known 1.00 spherical Machine Camera Wm. Friese-Greene 1889 Hyde Park Corner & Marble Arch 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 Kinesigraph Wordsworth Donisthorpe 1890 or 1891 view of Trafalgar Square 70 mm 1.00 unperforated spherical Friese-Greene Wm. Friese-Greene 1891 King's Road, Chelsea, London 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 Griffo-Barnett Prize Fight 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 Biographe Demeny-Gaumont 1896 60 mm 1.40 1.750" × 1.250" unperforated spherical 60 mm 1.40 spherical Chronophotographe Demeny-Gaumont 1896 60 mm 1.40 1.750" × 1.250" 4 perf, 2 sides spherical 60 mm 1.40 spherical Sivan-Dalphin Casimir Sivan and E. Dalphin 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 Viventoscope Thomas Henry Blair 1897 48 mm 1.50 1.500" × 1.000" 1 perf? spherical 48 mm spherical Birtac Birt Acres 1898 unknown (amateur format) 17.5 mm 2 perf, 1 side spherical 17.5 mm spherical Biokam T. C. Hepworth 1899 unknown (amateur format) 17.5 mm 1.60 0.630" × 0.394" 1 perf, center spherical 17.5 mm spherical Prestwich 13 mm John Alfred Prestwich 1899 unknown (amateur format) 13 mm spherical 13 mm spherical Mirograph Reulos, Goudeau & Co 1900 unknown (amateur format) 21 mm 1 notch, 2 sides spherical 21 mm spherical Lumiere Wide 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 La Petite (Hughes) W.C. Hughes 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 Pocket Chrono Gaumont Demeny 1900 unknown (amateur format) 15 mm 1 perf, center spherical 15 mm spherical Vitak William Wardell 1902 unknown (amateur format) no standard no standard no standard 1 perf, center spherical 11 mm spherical Home Kinetoscope 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 Duoscope Alexander F. Victor 1912 unknown (amateur format) 17.5 mm 2 perfs, center spherical 17.5 mm spherical Panoramico[5] Filoteo Alberini 1914 Il sacco di Roma 70 mm 2.52 5 perf, 2 sides spherical 70 mm spherical Split Duplex Duplex Corporation 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) 11 mm (American) 1916 unknown (amateur format) 11 mm 1 perf, center spherical 11 mm spherical Movette Movette Camera Company 1917 unknown (amateur format) 17.5 mm 2 perfs, 2 sides (rounded) spherical 17.5 mm spherical 28 mm safety standard Alexander F. Victor 1918 unknown (amateur format) 28 mm 1.36 0.748" × 0.551" 3 perf, 2 sides spherical 28 mm spherical Clou (Austrian) 1920 unknown (amateur format) 17.5 mm 2 perf, 2 sides spherical 17.5 mm spherical 26 mm (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 Widescope[6] John D. Elms & 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 Cinebloc Ozaphan 1922 unknown (amateur format) 22 mm 2 perf, 2 sides spherical 22 mm spherical Tri-Ergon soundfilm[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 Duplex G.J. Bradley 1923 unknown (amateur format) 11 mm 2 perf, 2 sides (rounded) spherical 11.5 mm spherical Alberini-Hill Corrado Cerqua 1924 35 mm 1.66 1.575" × 0.945" (curved) 10 perf, 2 sides, horizontal spherical, on 65° revolving drum 35 mm spherical Cinelux Ozaphan 1924 unknown (amateur format) 24 mm spherical 24 mm spherical 48 mm J.H. Powrie 1924 48 mm 1.32 1.969" × 1.496" horizontal spherical 35 mm 1.33 0.931" × 0.698" spherical Natural Vision[8] George K. Spoor & P. John Berggren 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 13 mm (French) 1925 unknown (amateur format) 13 mm 4 perf, center spherical 13 mm spherical 18 mm (Russian) 1925 unknown (amateur format) 18 mm 1 perf, 2 sides spherical 18 mm spherical Pathe Rural 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 Widevision[6] John D. Elms & George W. Bingham 1926 Natural Vision Pictures 57 mm 5 perf, 2 sides spherical 57 mm spherical Magnascope[5] Lorenzo del Riccio 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: A Song of Two Humans 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 Hypergonar Henri Chrétien 1927 Pour construire un feu 35 mm 2.66 0.980" × 0.735" 4 perf, 2 sides 2× anamorphic 35 mm 2.66 0.931" × 0.698" 2× anamorphic Magnafilm[10] Lorenzo del Riccio 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 Fearless Super Pictures[11] Ralph G. Fear 1929 35 mm 2.27 1.813" × 0.800" 10 perfs, 2 sides, horizontal spherical 35 mm, horizontal spherical Fearless Super-Film /
Magnifilm /
Fox Vitascope[12] Ralph G. Fear 1930 Kismet 65 mm 2.00 1.811" × 0.906" 5 perf, 2 sides spherical 65 mm 2.05 1.772" × 0.866" spherical Realife[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 50 mm[13] Fox Film Corporation & SMPE 1930 50 mm 1.80 1.325" × 0.735" spherical 50 mm 1.80 1.305" × 0.725" spherical 17 mm sound (French) 1930 unknown (amateur format) 17 mm 1 perf, 1 side spherical 17 mm spherical Giant Expanding Pictures 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) Kodel Kemco Homovie Clarence Ogden 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 Vitarama 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 Matted 1.66[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 Matted 1.85[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 Matted 1.75 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 VistaVision Large Area[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] Tushinsky Brothers 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 A Tour of the West 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 9.5 Duplex[25] Pathé Fréres 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° 8 mm Panoramic[26] Dimaphot, Paris 1955 ? 16 mm 1.5 5 mm × 7.5 mm 1 perf, 2 sides spherical 8 mm spherical, rotated 90° Emel Panoscope[27] Emel, Paris 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 Technirama Large Area[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 Dynamic Frame[29] Glenn Alvey 1956 The Door in the Wall 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] Superscope Inc. 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 Thrillarama[30] Albert H. Reynolds 1956 Thrillarama Adventure 35 mm × 2 cameras 1.78 × 2 negatives 3 perf, 2 sides? spherical 35 mm × 2 projectors 3.55, with a curved screen spherical Magirama[9] Abel Gance 1956 Magirama 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 Ben-Hur 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 Cinestage[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 Rank VistaVision J. Arthur Rank Organization 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] NIKFI 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] National Theatres 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 Smith-Carney System[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 / Circlorama[38] E. Goldovsky 1959 The Path of Spring 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 Varioscope[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 Quadravision[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 Cine System 3[43][44] Eric Berndt 1960 USAF and NASA usage 3 mm 1 perf, centered spherical Grandeur 70[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 Cinerama 360[42] Cinerama Corporation 1962 Journey to the Stars 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 Real Sound[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 8.75 mm[48] Shanghai Film Projection Equipment Factory 1968 unknown (amateur format) 1 perf spherical 8.75 mm spherical Astrovision[49] Goto Optical 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 Pik-a-Movie[51] Leon W. Wells 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 65 mm 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,
Iwerks 870)[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 Night of Dreams 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 Cinema 180[56] Omni Films 1979 Crazy Wheels 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] Joe Dunton 1982 Dance Craze 35 mm 1.33 0.980" × 0.735" 4 perf, 2 sides spherical 35 mm no standard no standard no standard Circle Vision 200[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 Swissorama 360 / Imagine 360[59] Ernst A. Heiniger 1984 Impressions of Switzerland 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 /
Max 8 /
Super 8B[60][61] Mitch Perkins & Greg Miller mid- 1980s Sleep Always (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 Pirates of the Lake 35 mm 1.79 0.980" × 0.546" 3 perf, 2 sides spherical 35 mm no standard no standard no standard Super VistaVision[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 Flowers in the Sky 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 Iwerksphere[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 Momentum 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 Hexiplex[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 Ultra Toruscope[56] Mac McCarney 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 Imagination FX 7012[13] Geo-Odyssey 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 Super Dimension 70[71] Robert Weisgerber 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 FuturVision 360[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 Mini-Max[72] Vistascope 35 mm 2.66 2 perf, 2 sides, 30 frame/s spherical 35 mm 2.66 spherical MotionMaster[73] Omni Films 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 Row-film[74] R. Thun 35 mm 20 rows of images wide spherical spherical Septorama[49] ? mm × 7 cameras 1.33 × 7 negatives spherical ? mm × 7 projectors hemispherical view spherical Single Cinerama[75] Fred Waller 35 mm curved gate 16 perf, 2 sides, horizontal spherical 35 mm, horizontal curved screen spherical Soviet 10[76] 65 mm 10 perf, 2 sides 2× anamorphic 70 mm 2.09 1.890" × 1.811" 2× anamorphic Vario-35[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 Vario-35A[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) Vario-70[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