List of film formats
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This is a list of film formats known to have been developed for shooting or viewing motion pictures since the development of such photographic technology towards the end of the 19th century.
Contents
Necessary characteristics for list inclusion
Due to the large amount of experimental work done with motion picture photography since its inception, some often considerably less successful than others, the formats listed meet several requirements:
- The images must be photochemical in nature and be formed or projected on a robust film base.
- The movies must be of a significant duration - i.e. more than a handful of 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 must not be purely conceptual and should have been used in the field or at least had some physical rendering for test shooting.
- The format characteristics should be clearly definable in several listed parameters, if not all of them.
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 (1x in the case of spherical lenses). Strictly speaking, aspect ratios for film are always 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.
- 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 (1x in the case of spherical lenses). This is also known as the intended theatrical aspect ratio.
- 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.
Film Formats
- Note that this table does not cover 3D systems or color film systems, nor is it well-suited to emphasize the differences between those systems.
| Format | Creator | Year Created | First known work | Negative gauge | Negative aspect ratio | Gate dimensions | Negative pulldown | Negative lenses | Projection gauge | Projection aspect ratio | Projection dimensions | Projection lenses |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Chronophotographe | Etienne-Jules Marey | 1888 | 90 mm | much less than 1.00 | unperforated | spherical | ||||||
| Paperfilm | Louis Le Prince | 1888 | Roundhay Garden Scene | 54 mm | unperforated | spherical | 54 mm | spherical | ||||
| Theatre Optique | Emile Reynaud | 1888 | Pauvre Pierrot | perforated | spherical | spherical | ||||||
| Chronophotographic | William Friese-Greene | 1889 | 54 mm | irregular perfs | spherical | |||||||
| Kinesigraph | Wordsworth Donisthorpe | 1889 | view of Trafalgar Square | 68 mm | 1.00? | unperforated | spherical | |||||
| Kinetograph cylinder | William Dickson and Thomas Edison | 1889 or 1890 | Monkeyshines, No. 1 | strip rolled around a cylinder | unperforated | spherical | strip rolled around a cylinder | spherical | ||||
| Kinetoscope horizontal | William Dickson and William Heise | 1891 | Dickson Greeting | 19 mm | 1 perf, 1 side, horizontal | spherical | 19 mm, horizontal | spherical | ||||
| Silent film standard | William Dickson and Thomas Edison | 1892 | Blacksmithing Scene | 35 mm | 1.33 | 0.980" x 0.735" | 4 perf, 2 sides | spherical | 35 mm | 1.33 | 0.931" x 0.698" | spherical |
| Bioskop | Max Skladanowsky | 1892 | footage of Emil Skladanowsky | 54 mm | unperforated (camera); 4 perf, 2 sides (projection) | spherical | 54 mm (two strips interleaved) | spherical | ||||
| Acres 70 | Birt Acres | 1894 | The Henley Royal Regatta of 1894 | 70 mm | 1.38 | 2.750" x 2.000" | spherical | 70 mm | spherical | |||
| Eidoloscope | Woodville Latham | 1895 | Griffo-Barnett Prize Fight | 51 mm | 1.85 | 1.457" x 0.787" | 4 perf, 2 sides | spherical | 51 mm | 1.85 | spherical | |
| Cinematographe | Lumiere Brothers | 1895 | La Sortie des Usines Lumiere | 35 mm | 1.33 | 0.980" x 0.735" | 1 perf, 2 sides (rounded) | spherical | 35 mm | 1.33 | spherical | |
| Biograph | Herman Casler | 1895 | Sparring Contest at Canastota | 68 mm | 1.35 | 2.625" x 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" x. 1.250" | unperforated | spherical | 60 mm | 1.40 | spherical | ||
| Chronophotographe | Demeny-Gaumont | 1896 | 60 mm | 1.40 | 1.750" x. 1.250" | 4 perf, 2 sides | spherical | 60 mm | 1.40 | spherical | ||
| Sivan-Dalphin | Casimir Sivan and E. Dalphin | 1896 | 38 mm | spherical | 38 mm | spherical | ||||||
| Veriscope | Enoch Rector | 1897 | Corbett-Fitzsimmons fight | 63 mm | 1.66 | 1.875" x 1.125" | 5 perf, 2 sides | spherical | 63 mm | spherical | ||
| Viventoscope | Thomas Henry Blair | 1897 | 48 mm | 1.50 | 1.500" x 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" x 0.394" | 1 perf, center | spherical | 17.5 mm | spherical | ||
| Prestwich 13mm | John Alfred Prestwich | 1899 | unknown (amateur format) | 13 mm | spherical | 13 mm | spherical | |||||
| Miroscope | Reulos, Goudeau & Co | 1900 | unknown (amateur format) | 21 mm | 1 notch, 2 sides | spherical | 21 mm | spherical | ||||
| Lumiere Wide | Lumiere Brothers | 1900 | 75 mm | 1.33 | 2.362" x 1.772" | 8 perf, 2 sides | spherical | 75 mm | 1.33 | spherical | ||
| Cineorama | Raoul Grimoin-Sanson | 1900 | Cineorama | 70 mm x 10 cameras (360°) | 4 perf? | spherical | 70 mm x 10 projectors (360°) | spherical | ||||
| La Petite (Hughes) | W.C. Hughes | 1900 | unknown (amateur format) | 17.5 mm | 1.60 | 0.630" x 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" x 0.157" (three frames across width) | spherical |
| Pathe Kok | Pathe | 1912 | unknown (amateur format) | 28 mm | 1.36 | 0.748" x 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 | 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" x 0.735" | 4 perf, 2 sides (shooting) | spherical | 35 mm | 1.87 | 0.735" x 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 Victor | 1918 | unknown (amateur format) | 28 mm | 1.36 | 0.748" x 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 | Pathe | 1922 | unknown (amateur format) | 9.5 mm | 1.31 | 0.335" x 0.256" | 1 perf, center | spherical | 9.5 mm | 1.31 | 0.315" x 0.242" | spherical |
| Widescope | John D. Elms and George W. Bingham | 1922 | 35 mm x 2 (both in same camera) | 0.980" x 0.735" | 1.33 x 2 negatives | 4 perf, 2 sides | spherical (one lens per strip) | 35 mm x 2 projectors | 2.66 | 0.931" x 0.698" | spherical | |
| Cinebloc | Ozaphan | 1922 | unknown (amateur format) | 22 mm | 2 perf, 2 sides | spherical | 22 mm | spherical | ||||
| Tri-Ergon soundfilm | Tri-Ergon | 1922 | 35 mm | 1.33 | 0.980" x 0.735" | 4 perf, 2 sides | spherical | 42 mm | 1.33 | 0.931" x 0.698" | spherical | |
| 16 mm | Eastman Kodak | 1923 | unknown (amateur format) | 16 mm | 1.37 | 0.404" x 0.295" | 1 perf, 1 or 2 sides | spherical | 16 mm | 1.37 | 0.378" x 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" x 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" x 1.496" | horizontal | spherical | 35 mm | 1.33 | 0.931" x 0.698" | spherical | |
| Natural Vision | George K. Spoor and P. John Berggren | 1925 | The American | 63.5 mm | 1.84 | 2.060" x 1.120" | 6 perf, 2 sides, 20 fps | 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 | Pathe | 1926 | unknown (amateur format) | 17.5 mm | 1.35 (silent); 1.30 (sound) | 0.516" x 0.382" (silent); 0.445" x 0.343" (sound) | 1 perf, 2 sides | spherical | 17.5 mm | 1.33 (silent); 1.26 (sound) | 0.472" x 0.354" (silent); 0.445" x 0.343" (sound) | spherical |
| Widevision | John D. Elms and George W. Bingham | 1926 | Natural Vision Pictures | 57 mm | 5 perf, 2 sides | spherical | 57 mm | spherical | ||||
| Magnascope | Lorenzo del Riccio | 1926 | Old Ironsides | 35 mm | 1.33 | 0.980" x 0.735" | 4 perf, 2 sides | spherical | 35 mm | 1.33 | 0.931" x 0.698" | spherical (selected scenes projected using a wider lens for larger picture) |
| Movietone | Lee De Forest | 1927 | As We Lie | 35 mm | 1.33? | 0.980" x 0.735"? | 4 perf, 2 sides | spherical | 35 mm | 1.17 | 0.826" x 0.708" | spherical |
| Polyvision | Abel Gance | 1927 | Napoléon | 35 mm x 3 cameras | 1.33 x 3 negatives | 0.980" x 0.735" | 4 perf, 2 sides | spherical | 35 mm x 3 projectors | 4.00 | 0.931" x 0.698" | spherical |
| Magnafilm | Lorenzo del Riccio | 1929 | You're in the Army Now | 56 mm | 2.19 | 1.620" x 0.740" | 4 perf, 2 sides | spherical | 56 mm | 2.00 | spherical | |
| Hypergonar | Henri Chretien | 1927 | Pour construire un feu | 35 mm | 2.66 | 0.980" x 0.735" | 4 perf, 2 sides | 2x anamorphic | 35 mm | 2.66 | 0.931" x 0.698" | 2x anamorphic |
| Grandeur | 20th Century Fox | 1929 | Fox Grandeur News | 70 mm | 2.07 | 1.890" x 0.913" | 4 perf, 2 sides, 20 fps (before 1930) | spherical | 70 mm | 2.00 | 1.768" x 0.885" | spherical |
| Fearless Super Pictures | Ralph G. Fear | 1929 | 35 mm | 2.27 | 1.813" x 0.800" | 10 perfs, 2 sides, horizontal | spherical | 35 mm, horizontal | spherical | |||
| Fearless Super-Film/Magnifilm/Fox Vitascope | Ralph G. Fear | 1930 | Kismet | 65 mm | 2.00 | 1.811" x 0.906" | 5 perf, 2 sides | spherical | 65 mm | 2.05 | 1.772" x 0.866" | spherical |
| Realife | MGM | 1930 | Billy the Kid | 70 mm | 2.07 | 1.890" x 0.913" | 4 perf, 2 sides | spherical | 35 mm | 1.75 | 0.904" x 0.517" | spherical |
| 50 mm | 20th Century Fox and SMPE | 1930 | 50 mm | 1.80 | 1.325" x 0.735" | spherical | 50 mm | 1.80 | 1.305" x 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" x 0.735" | 4 perf, 2 sides | spherical | 35 mm | 1.17 | 0.826" x 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 | AMPAS | 1932 | 35 mm | 1.37 | 0.866" x 0.630" | 4 perf, 2 sides | spherical | 35 mm | 1.37 | 0.825" x 0.602" | spherical | |
| 8 mm | Eastman Kodak | 1932 | unknown (amateur format) | 16 mm | 1.32 | 0.192" x 0.145" | 1 perf, 1 side (using 16 mm film with twice as many perfs) | spherical | 8 mm | 1.33 | 0.172" x 0.129" | spherical |
| Straight 8 | Bell and Howell | 1935 | unknown (amateur format) | 8 mm | 1.32 | 0.192" x 0.145" | 1 perf, 1 side | spherical | 8 mm | 1.33 | 0.172" x 0.129" | spherical |
| Vitarama | Fred Waller | 1939 | 16 mm x 11 cameras | 1.37 x 11 negatives | 0.404" x 0.295" | 1 perf, 2 sides | spherical | 16 mm x 11 projectors | hemispherical view | 0.378" x 0.276" | spherical | |
| Waller Flexible Gunnery Trainer | Fred Waller | 1943 | US Air Force interactive training exercise | 35 mm x 5 cameras | 1.37 x 5 negatives | 0.866" x 0.630" | 4 perf, 2 sides | spherical | 35 mm x 5 projectors | hemispherical view | 0.825" x 0.602" | spherical |
| Cinerama | Fred Waller | 1952 | This Is Cinerama | 35 mm x 3 cameras | 0.89 x 3 negatives | 0.996" x 1.116" | 6 perf, 2 sides at 26 fps | spherical | 35 mm x 3 projectors, with 6 perf pulldown | 2.59, with 146° curved screen | 0.985" x 1.088" | spherical |
| Matted 1.66 | Paramount | 1953 | Shane | 35 mm | 1.37 | 0.866" x 0.630" | 4 perf, 2 sides | spherical | 35 mm | 1.66 | 0.825" x 0.497" | spherical |
| Matted 1.85 | Universal | 1953 | Thunder Bay | 35 mm | 1.37 | 0.866" x 0.630" | 4 perf, 2 sides | spherical | 35 mm | 1.85 | 0.825" x 0.446" | spherical |
| Matted 1.75 | MGM | 1953 | Arena | 35 mm | 1.37 | 0.866" x 0.630" | 4 perf, 2 sides | spherical | 35 mm | 1.75 | 0.825" x 0.471" | spherical |
| Cinemascope | 20th Century Fox | 1953 | The Robe | 35 mm | 2.55 (1953-1957); 2.37 (1957-1967) | 0.937" x 0.735" (1953-1957); 0.866" x 0.732" (1957-1967) | 4 perf, 2 sides | 2x anamorphic | 35 mm | 2.55 (1953-1957); 2.35 (1957-1967) | 0.912" x 0.715" (1953-1957); 0.839" x 0.715" (1957-1967) | 2x anamorphic |
| Arnoldscope | John Arnold | 1953 | 35 mm | 10 perf, 2 sides, horizontal | spherical | |||||||
| VistaVision | Paramount | 1954 | White Christmas | 35 mm | 1.51 | 1.495" x 0.991" | 8 perf, 2 sides, horizontal | spherical | 35 mm, 4 perf, vertical | 1.85 | 0.825" x 0.446" | spherical |
| Superscope | Tushinsky Brothers | 1954 | Vera Cruz | 35 mm | 1.33 | 0.980" x 0.735" | 4 perf, 2 sides | spherical | 35 mm | 2.00 | 0.715" x 0.715" | 2x anamorphic |
| VistaVision Large Area | Paramount | 1955 | Strategic Air Command | 35 mm | 1.51 | 1.495" x 0.991" | 8 perf, 2 sides, horizontal | spherical | 35 mm, 8 perf, horizontal | 1.96 | 1.418" x 0.723" | spherical |
| Circarama | Disney | 1955 | A Tour of the West | 16 mm x 11 cameras | 1.37 x 11 negatives | 0.404" x 0.295" | 1 perf, 2 sides | spherical | 16 mm x 11 projectors | 360° | 0.378" x 0.276" | spherical |
| Todd A.O.Even after slowing down the frame rate from 30 to 24 fps, Todd AO productions retained the use of the same trade name on the 24 fps films. There is no difference between 24 fps Todd AO, Super Panavision, and what is otherwise referred to as standard 65/70 mm. | Michael Todd | 1955 | Oklahoma! | 65 mm | 2.29 | 2.072" x 0.906" | 5 perfs, 2 sides, at 30 fps | spherical | 70 mm | 2.21, with 120° curved screen | 1.912" x 0.870" | spherical |
| Cinemascope 55 | 20th Century Fox | 1955 | Carousel | 55 mm | 2.55 | 1.824" x 1.430" | 8 perfs, 2 sides | 2x anamorphic | 35 mm | 2.55 | 0.912" x 0.715" | 2x anamorphic |
| 4.75 mm | Pathe | 1955 | unknown (amateur format) | 9.5 mm | 2 perf, 1 side (using 9.5 mm film with twice as many perfs) | spherical | 4.75 mm | spherical, rotated 90° | ||||
| Technirama | Technicolor | 1956 | The Monte Carlo Story | 35 mm | 2.26 | 1.496" x 0.992" | 8 perf, 2 sides, horizontally | 1.5x anamorphic | 35 mm, 4 perf vertical | 2.35 | 0.839" x 0.715" | 2x anamorphic |
| Technirama Large Area | Technicolor | 1956 | The Monte Carlo Story | 35 mm | 2.26 | 1.496" x 0.992" | 8 perf, 2 sides, horizontally | 1.5x anamorphic | 35 mm, 8 perf horizontal | 1.421" x 0.881" | 2.42 | 1.5x anamorphic |
| Dynamic Frame | 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 | Superscope Inc. | 1956 | Run for the Sun | 35 mm | 1.33 | 0.980" x 0.735" | 4 perf, 2 sides | spherical | 35 mm | 2.35 | 0.839" x 0.715" | 2x anamorphic |
| Thrillarama | Albert H. Reynolds | 1956 | Thrillarama Adventure | 35 mm x 2 cameras | 1.78 x 2 negatives | 3 perf, 2 sides? | spherical | 35 mm x 2 projectors | 3.55, with a curved screen | spherical | ||
| Magirama | Abel Gance | 1956 | Magirama | 35 mm x 3 cameras (sides bounced off of mirrors) | 1.33 x 3 negatives | 0.980" x 0.735" | 4 perf, 2 sides | spherical | 35 mm x 3 projectors (sides bounced off of mirrors) | 4.00 | 0.931" x 0.698" | spherical |
| Ultra Panavision | Panavision | 1957 | Raintree County | 65 mm | 2.86 | 2.072" x 0.906" | 5 perf, 2 sides | 1.25x anamorphic | 70 mm | 2.76 | 1.912" x 0.870" | 1.25x anamorphic |
| Modern anamorphic | Panavision | 1957 | Silk Stockings | 35 mm | 2.37 | 0.866" x 0.732" | 4 perf, 2 sides | 2x anamorphic | 35 mm | 2.35 (1957-1970); 2.39 (1970-present) | 0.839" x 0.715" (1957-1970); 0.838" x 0.7" (1970-1993); 0.825" x 0.690" (1993-present) | 2x anamorphic |
| Cinestage | Mike Todd | 1957 | Around the World in Eighty Days | 65 mm | 2.29 | 2.072" x 0.906" | 5 perfs, 2 sides | spherical | 35 mm (1 mm shaved off for UK prints) | 2.12 | 0.912" x 0.675" | 1.567x anamorphic |
| Rank VistaVision | J. Arthur Rank Organization | 1957 | 35 mm | 1.51 | 1.495" x 0.991" | 8 perf, 2 sides, horizontally | spherical | 35 mm, 4 perf, vertical | 1.82 | 0.825" x 0.602" | 1.33x anamorphic | |
| Kinopanorama | NIKFI | 1958 | Great Is My Country | 35 mm x 3 cameras | 0.91 x 3 negatives | 1.014" x 1.116" | 6 perf, 2 sides, at 25 fps | spherical | 35 mm x 3 projectors | 2.72 | 0.985" x 1.088" | spherical |
| 70 mm | American Optical Company | 1958 | South Pacific | 65 mm | 2.28 | 2.066" x 0.906" | 5 perfs, 2 sides | spherical | 70 mm | 2.21 | 1.912" x 0.87" | spherical |
| Cinemiracle | National Theatres | 1958 | Windjammer | 35 mm x 3 cameras (sides bounced off of mirrors) | 0.89 x 3 negatives | 0.996" x 1.116" | 6 perf, 2 sides at 26 fps | spherical | 35 mm x 3 projectors (sides bounced off of mirrors), with 6 perf pulldown | 2.59, with 120° curved screen | 0.985" x 1.088" | spherical |
| Super Technirama | Technicolor | 1959 | Sleeping Beauty | 35 mm | 2.26 | 1.496" x 0.992" | 8 perf, 2 sides, horizontally | 1.5x anamorphic | 70 mm | 2.21 | 1.912" x 0.816" | spherical |
| Smith-Carney System | Rowe E. Carney Jr. and Tom F. Smith | 1959 | Missouri travelogue | 35 mm | 4.69 | 0.839" x 0.370" (bottom half) and 0.449" x 0.370" (top quarters) | 4 perf, 2 sides | spherical x 3 | 35 mm | 4.69 | three sub-frames projected to one 180° image | spherical x 3 |
| Circular Kinopanorama/Circlorama | E. Goldovsky | 1959 | The Path of Spring | 35 mm x 11 cameras | 1.37 x 11 negatives | 0.866" x 0.630" | 4 perf, 2 sides | spherical | 35 mm x 11 projectors | 360° | 0.825" x 0.602" | spherical |
| Varioscope | Jan Jacobsen | 1959 | 65 mm | 2.28 | 2.066" x 0.906" | 5 perfs, 2 sides | spherical | 70 mm | variable framing run through control signal | 1.912" x 0.87" | spherical | |
| Techniscope | Technicolor | 1960 | The Pharaoh's Woman | 35 mm | 2.33 | 0.868" x 0.373" | 2 perf, 2 sides | spherical | 35 mm | 2.39 | 0.838" x 0.7" | 2x anamorphic |
| Wonderama (Arc 120) | 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" x 0.698", with two half-images turned 90° and placed side-by-side | spherical x 2 |
| Cine System 3 | Eric Berndt | 1960 | USAF and NASA usage | 3 mm | 1 perf, centered | spherical | ||||||
| Grandeur 70 | 20th Century Fox | 1961 | The King and I (re-release) | 55 mm | 2.55 | 1.824" x 1.430" | 8 perfs, 2 sides | 2x anamorphic | 70 mm | 2.21 | 1.912" x 0.87" | spherical |
| Cinerama 360 | Cinerama Corporation | 1962 | Journey to the Stars | 65 mm | 1.00 (circle) | 2.25" diameter circular image | 10 perf, 2 sides | spherical | 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" x 0.166" | 1 perf, 1 side | spherical | 8 mm | 1.36 | 0.215" x 0.158" | spherical |
| Single-8 | Fujifilm | 1965 | unknown (amateur format) | 8 mm | 1.36 | 0.224" x 0.164" | 1 perf, 1 side | spherical | 8 mm | 1.35 | 0.213" x 0.157" | spherical |
| Real Sound | Kenner | 1965 | no standard | no standard | no standard | 1 perf, 1 side | spherical | 11.5 mm | 1.33 | 0.172" x 0.129" | spherical | |
| Double Super 8 | Eastman Kodak | 1965 | unknown (amateur format) | 16 mm | 1.48 | 0.245" x 0.166" | 1 perf, 1 side (using 16 mm film with twice as many perfs) | spherical | 8 mm | 1.36 | 0.215" x 0.158" | spherical |
| Dimension 150 | American Optical Company | 1966 | The Bible | 65 mm | 2.28 | 2.066" x 0.906" | 5 perfs, 2 sides | spherical | 70 mm | 2.21, with 150° curved screen | 1.912" x 0.87", optically curved to compensate for the screen | spherical |
| Circle Vision 360 | Disney | 1967 | America the Beautiful | 35 mm x 9 cameras | 1.37 x 9 negatives | 0.866" x 0.630" | 4 perf, 2 sides | spherical | 35 mm x 9 projectors | 360° | 0.825" x 0.602" | spherical |
| Astrovision | Goto Optical | 1969 | 65 mm | 10 perf, 2 sides | spherical or fish-eye | 70 mm | fish-eye (dome projection) | |||||
| IMAX | IMAX Corporation | 1970 | Tiger Child | 70 mm | 1.34 | 2.772" x 2.072" | 15 perf, 2 sides, horizontally | spherical | 70 mm, horizontal | 1.31 | 2.692" x 2.056" | spherical |
| Super 16 mm film | Rune Ericson | 1970 | Blushing Charlie | 16 mm | 1.66 | 0.493" x 0.292" | 1 perf, 1 side | spherical | no standard, but often blown up to 35 mm | no standard | 0.463" x 0.279" (full frame); 0.463" x 0.251" (framed for 1.85) | spherical |
| 8.75 mm | Chinese | 1970? | unknown (amateur format) | 8.75 mm | 1 perf? | spherical | 8.75 mm | spherical | ||||
| OMNIMAX | IMAX Corporation | 1973 | Garden Isle | 70 mm | 1.34 | 2.772" x 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" x 2.056" | spherical, projected elliptically on a dome screen, 20 degrees below and 110 degrees above perfectly centered viewers |
| 8/70 (Dynavision, Iwerks 870) | Dynavision | 1973? | 65 mm | 1.37 | 2.031" x 1.484" | 8 perf, 2 sides, 24 or 30 fps | spherical | 70 mm | 1.34 | 1.913" x 1.431" | spherical | |
| Showscan | Douglas Trumbull | 1978 | Night of Dreams | 65 mm | 2.28 | 2.066" x 0.906" | 5 perfs, 2 sides, at 60 fps | spherical | 70 mm, at 60 fps | 2.21 | 1.912" x 0.87" | spherical |
| Polavision | Polaroid | 1978 | unknown (amateur format) | 8 mm | 1.48 | 0.245" x 0.166" | 1 perf, 1 side | spherical | 8 mm | 1.36 | 0.215" x 0.158" | spherical |
| Omnivision Cinema 180 | Omni Films | 1979 | Crazy Wheels | 65 mm | 2.28 | 2.066" x 0.906" | 5 perfs, 2 sides, 30 fps | fisheye | 70 mm | 180°, on a dome | 1.912" x 0.87" | fisheye |
| Super 35 | Joe Dunton | 1982 | Dance Craze | 35 mm | 1.33 | 0.980" x 0.735" | 4 perf, 2 sides | spherical | 35 mm | no standard | no standard | no standard |
| Circle Vision 200 | Disney | 1982 | Impressions de France | 35 mm x 5 cameras | 1.37 x 5 negatives | 0.866" x 0.630" | 4 perf, 2 sides | spherical | 35 mm x 5 projectors | 6.85, on a 200° screen | 0.825" x 0.602" | spherical |
| Swissorama 360/Imagine 360 | Ernst A. Heiniger | 1984 | Impressions of Switzerland | 65 mm | 360° | 1.91" (outer edge), 1.20" (inner edge) | 10 perf, 2 sides | 360° x 35° extreme fisheye | 70 mm | 360° | 360° x 35° extreme fisheye | |
| 3-perf | Rune Ericson | 1987 | Pirates of the Lake | 35 mm | 1.79 | 0.980" x 0.546" | 3 perf, 2 sides | spherical | 35 mm | no standard | no standard | no standard |
| Super VistaVision | Paramount | 1989 | The Ten Commandments (re-release) | 35 mm | 1.51 | 1.495" x 0.991" | 8 perf, 2 sides, horizontal | spherical | 70 mm | 2.21 | 1.912" x 0.87" | spherical |
| Kinoton HDFS | Kinoton | 1990 | no standard | no standard | no standard | no standard | no standard | 35 mm | 2.00 | 0.931" x 0.698" | 1.5x anamorphic | |
| IMAX Magic Carpet | IMAX Corporation | 1990 | Flowers in the Sky | 70 mm x 2 cameras | 1.34 | 2.772" x 2.072" | 15 perf, 2 sides, horizontally | spherical | 70 mm, horizontal x 2 projectors | 1.31 x 2 screens (one in front, one below) | 2.692" x 2.056" | spherical |
| Iwerksphere | Iwerks | 1991 | 65 mm | 1.37 | 2.031" x 1.484" | 8 perf, 2 sides, 24 or 30 fps | fisheye | 70 mm | 1.34 | 1.913" x 1.431" | fisheye | |
| IMAX HD | IMAX Corporation | 1992 | Asteroid Adventure | 70 mm | 1.34 | 2.772" x 2.072" | 15 perf, 2 sides, horizontally, 48 fps | spherical | 70 mm, horizontal | 1.31 | 2.692" x 2.056" | spherical |
| Hexiplex | (Australian) | 1992 | Expo '92 demo | 35 mm x 6 cameras | 1.37 x 6 negatives | 0.866" x 0.630" | 4 perf, 2 sides | spherical | 35 mm x 6 projectors | 360°, with rotating screens and projectors | 0.825" x 0.602" | spherical |
| Imagination FX 7012 | Geo-Odyssey | 1992? | 35 mm | 2.08 | 2.040" x 0.980" | 12 perf, 2 sides, horizontal | spherical | 70 mm | 2.21 | 1.912" x 0.87" | spherical | |
| Univisium | Vittorio Storaro | 1998 | Tango | 35 mm | 2.00 | 0.945" x 0.472" | 3 perf, 2 sides at 25 fps | spherical | 35 mm | 2.00 | spherical | |
| Maxivision | Dean Goodhill | 1999 | 35 mm | 1.79 | 0.980" x 0.546" | 3 perf, 2 sides | spherical | 35 mm, 3 perf | 1.85 | spherical | ||
| Maxivision 48 | Dean Goodhill | 1999 | 35 mm | 1.79 | 0.980" x 0.546" | 3 perf, 2 sides, 48 fps | spherical | 35 mm, 3 perf, 48 fps | 1.85 | spherical | ||
| Super Duper 8/Max 8/Super 8B | Mitch Perkins | 2002 | Sleep Always | 8 mm | 1.51 | 0.250" x 0.166" | 1 perf, 1 side | spherical | 8 mm | no standard | no standard | spherical |
| Super Dimension 70 | Robert Weisgerber | 2002 | 65 mm | 2.28 | 2.066" x 0.906" | 5 perfs, 2 sides, at 48 fps | spherical | 70 mm, at 48 fps | 2.21 | 1.912" x 0.87" | spherical | |
| Futurevision 360 | 65 mm | 1.52 | 2.066" x 0.906" | 5 perfs, 2 sides, 30 fps | 1.5x vertical anamorphic | 70 mm | 1.47 | 1.912" x 0.87" | 1.5x vertical anamorphic | |||
| Mini-Max | Vistascope | 35 mm | 2.66 | 2 perf, 2 sides, 30 fps | spherical | 35 mm | 2.66 | spherical | ||||
| MotionMaster | Omni Films | 65 mm | 2.28 | 2.066" x 0.906" | 5 perfs, 2 sides, 30 fps | spherical | 70 mm | 2.21, on a curved screen | 1.912" x 0.87" | spherical | ||
| Quadravision | ? mm x 4 cameras | ? x 4 negatives | spherical | ? mm x 4 projectors | ? (4 images in 2x2 configuration) | spherical | ||||||
| Row-film | R. Thun | 35 mm | 20 rows of images wide | spherical | spherical | |||||||
| Septorama | ? mm x 7 cameras | 1.33 x 7 negatives | spherical | ? mm x 7 projectors | hemispherical view | spherical | ||||||
| Single Cinerama | Fred Waller | 35 mm | curved gate | 16 perf, 2 sides, horizontal | spherical | 35 mm, horizontal | curved screen | spherical | ||||
| Soviet 10 | 65 mm | 10 perf, 2 sides | 2x anamorphic | 70 mm | 2.09 | 1.890" x 1.811" | 2x anamorphic | |||||
| Ultra Toruscope | 35 mm x 3 cameras | 1.37 x 3 negatives | 0.866" x 0.630" | 4 perf, 2 sides, at 30 fps | spherical | 70 mm x 3 projectors, at 30 fps | 360° | 1.912" x 0.87" | spherical | |||
| Vario-35 | 35 mm | spherical | 35 mm | variable framing run through control signal | 0.835" x 0.713" (full); 0.835" x 0.453" (1.84); 0.709" x 0.524" (1.35); 0.614" x 0.614" (1.00); 0.535" x 0.713" (0.75) | spherical | ||||||
| Vario-35A | 35 mm | 35 mm | variable framing run through control signal | 0.835" x 0.713" | variable anamorphic (2x for 2.35; 1.57x for 1.85; 1.17x for 1.37; 0.85x for 1.00; 0.64x for 0.75; 0.5x for 0.59) | |||||||
| Vario-70 | 65 mm | 10 perfs, 2 sides | spherical | 70 mm | variable framing run through control signal | 1.890" x 1.811" (full); 1.890" x 0.803" (2.35); 1.673" x 0.906" (1.85); 1.441" x 1.051" (1.37); 1.232" x 1.232" (1.00); 1.063" x 1.429" (0.74); 0.945" x 1.604" (0.59); 0.839" x 1.811" (0.46) | spherical | |||||
| Format | Creator | Year Created | First known work | Negative gauge | Negative aspect ratio | Gate dimensions | Negative pulldown | Negative lenses | Projection gauge | Projection aspect ratio | Projection dimensions | Projection lenses |
Notes
References
- Hart, Douglas C. The Camera Assistant: A Complete Professional Handbook. Newton, MA: Focal Press, 1996.
- Hummel, Rob (editor). American Cinematographer Manual, 8th edition. Hollywood: ASC Press, 2001.
Websites
- [Adventures in Cybersound]
- [American Widescreen Museum]
- [Aspect Ratio and Image Cutoff]
- [Birt Acres, 1854-1918, a film pioneer]
- [A Brief History of Amateur Film Gauges and Related Equipment, 1899-2001]
- [Chronomedia]
- ["Cinematographe Lumiere" a myth? Who invented the cinema?]
- [The Dead Media Project]
- [Edison film notes]
- [8 mm Film Gauges]
- [Ernemann film]
- [Expo '92 Seville]
- [Film Formats]
- [Film Formats at MROB]
- [Film Gauges]
- [Film Tech]
- [Formats 8 mm]
- [History of Edison Motion Pictures]
- [History of sub-35mm Film Formats and Cameras]
- [in70mm.com]
- [Internet Movie Database]
- [Introduction to Film Gauges]
- [Kodak Chronology of Motion Picture Films]
- [Kodak Super 8 mm Film History]
- [MCC Logical Designs - Technical Info]
- [MOMI]
- [National Museum of Photography, Film, & Television]
- [One hundred years of film sizes]
- [One Long Image]
- [Operating Cameraman Magazine]
- [Panavision: Technical Information: Aspect Ratio Overview]
- [Pathefilm collecting]
- [Pro8mm]
- [A Short History of Small Gauge Movie Films]
- [Storaro's notes on Univision]
- [UCLA Film and Television Archive Terminology, Definitions, and Abbreviations List]
- [Ultimate Table of Formats and Aspect Ratios]
- ["Wide Screen Movies" Corrections]
- [Wide Screen Movies Magazine]
- [Who's Who of Victorian Cinema]
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