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List of motion picture film formats#Film formats

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{{redirect-distinguish|List of film formats|List of photographic film formats}}

{{Inline citations|date=March 2023}}

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.).

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).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.
  • 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.
  • 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.

class="wikitable sortable" style="text-align: center; cursor: help"
style="cursor:default" | Format

! Creator

! title="Year created" | Est.

! First
known work

! Negative
gauge

! title="Negative aspect ratio" | Negative
A/R

! title="Camera gate dimensions" | Gate
dims

! Negative
pulldown

! Negative
lenses

! Projection
gauge

! title="Projection aspect ratio" | Projection
A/R

! title="Projection dimensions" | Projection
dims

! Projection
lenses

{{List of film formats/row template

| ChronophotographeBurns, R.W., Television: An International History of the Formative Years, p. 71, Institution of Electrical Engineers, 1991.

| Étienne-Jules Marey

| 1888

| motion analysis studies

| 90 mm

| 1.00

| 3.543" × 3.543"

| unperforated

| spherical

|

|

|

| }}

{{List of film formats/row template

| Paper filmScott, E. Kilburn, [https://webarchive.nla.gov.au/awa/20040302130000/http://pandora.nla.gov.au/pan/13071/20040303-0000/www.acmi.net.au/AIC/LE_PRINCE_JSMPTE.html "The Career of L. A .A. Le Prince"]{{cbignore|bot=medic}}, Adventures in Cybersound. Retrieved 2008-05-17.

| Louis Le Prince

| 1888

| Roundhay Garden Scene

| 65 mm

| 1.00

|

| unperforated

| spherical

| not known

| 1.00

|

| spherical}}

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| Machine Camera

| Wm. Friese-Greene

| 1889

|Hyde Park Corner & Marble Arch

| 65 mm

| 1.00

|

| pin wheel perforation

| spherical

|

|

|

| }}

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| Kinetoscope cylinder

| Wm. Dickson & T. Edison

| 1889 or 1890

| Monkeyshines, No. 1

| strip rolled around a cylinder

|

|

| unperforated

| spherical

|

|

|

| spherical}}

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| Kinesigraph

| Wordsworth Donisthorpe

| 1890 or 1891

| view of Trafalgar Square

| 70 mm

| 1.00

|

| unperforated

| spherical

|

|

|

}

{{List of film formats/row template

| Friese-Greene

| Wm. Friese-Greene

| 1891

|King's Road, Chelsea, London

| 60 mm

|1.325

|

| 8 round perfs, 2 sides

| spherical

|

|

|

| }}

{{List of film formats/row template

| Kinetoscope horizontal

| Wm. Dickson & William Heise

| 1891

| Dickson Greeting

| 19 mm

|

|

| 6 perf, 1 side, horizontal

| spherical

|

|

|

| spherical}}

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| 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}}

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| Bioscop

| Max Skladanowsky

| 1892

| footage of Emil Skladanowsky

| 54 mm

|

|

| unperforated (camera); 4 perf, 2 sides (projection)

| spherical

| 54 mm (two strips interleaved)

|

|

| spherical}}

{{List of film formats/row template

| EidoloscopeHiller, John. "Film History for the Public: The First National Movie Machine Collection", Film History, v. 11, n. 3, p. 373. Indiana University Press, 1999.

| 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}}

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| 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}}

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| 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}}

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| Joly-Normandin

| Henri Joly

| 1895

|

| 60 mm

|

|

| 5 perf, 2 sides

| spherical

| 60 mm

|

|

| spherical}}

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| Biographe

| Demeny-Gaumont

| 1896

|

| 60 mm

| 1.40

| 1.750" × 1.250"

| unperforated

| spherical

| 60 mm

| 1.40

|

| spherical}}

{{List of film formats/row template

| Chronophotographe

| Demeny-Gaumont

| 1896

|

| 60 mm

| 1.40

| 1.750" × 1.250"

| 4 perf, 2 sides

| spherical

| 60 mm

| 1.40

|

| spherical}}

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| Sivan-Dalphin

| Casimir Sivan and E. Dalphin

| 1896

|

| 38 mm

|

|

| 2 perf, 2 sides

| spherical

| 38 mm

|

|

| spherical}}

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| Veriscope

| Enoch Rector

| 1897

| The Corbett-Fitzsimmons Fight

| 63 mm

| 1.66

| 1.875" × 1.125"

| 5 perf, 2 sides

| spherical

| 63 mm

|

|

| spherical}}

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| Viventoscope

| Thomas Henry Blair

| 1897

|

| 48 mm

| 1.50

| 1.500" × 1.000"

| 1 perf?

| spherical

| 48 mm

|

|

| spherical}}

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| Birtac

| Birt Acres

| 1898

| unknown (amateur format)

| 17.5 mm

|

|

| 2 perf, 1 side

| spherical

| 17.5 mm

|

|

| spherical}}

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| 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}}

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| Prestwich 13 mm

| John Alfred Prestwich

| 1899

| unknown (amateur format)

| 13 mm

|

|

|

| spherical

| 13 mm

|

|

| spherical}}

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| Mirograph

| Reulos, Goudeau & Co

| 1900

| unknown (amateur format)

| 21 mm

|

|

| 1 notch, 2 sides

| spherical

| 21 mm

|

|

| spherical}}

{{List of film formats/row template

| Lumiere Wide

| Lumière Brothers

| 1900

|

| 75 mm

| 1.33

| 2.362" × 1.772"

| 8 perf, 2 sides

| spherical

| 75 mm

| 1.33

|

| spherical}}

{{List of film formats/row template

| Cinéorama

| R. Grimoin-Sanson

| 1900

| Cinéorama

| 70 mm × 10 cameras (360°)

|

|

| 4 perf?

| spherical

| 70 mm × 10 projectors (360°)

|

|

| spherical}}

{{List of film formats/row template

| 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}}

{{List of film formats/row template

| Pocket Chrono

| Gaumont Demeny

| 1900

| unknown (amateur format)

| 15 mm

|

|

| 1 perf, center

| spherical

| 15 mm

|

|

| spherical}}

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| Vitak

| William Wardell

| 1902

| unknown (amateur format)

| no standard

| no standard

| no standard

| 1 perf, center

| spherical

| 11 mm

|

|

| spherical}}

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| 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}}

{{List of film formats/row template

| 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}}

{{List of film formats/row template

| Duoscope

| Alexander F. Victor

| 1912

| unknown (amateur format)

| 17.5 mm

|

|

| 2 perfs, center

| spherical

| 17.5 mm

|

|

| spherical}}

{{List of film formats/row template

| PanoramicoSherlock, p. 3.

| Filoteo Alberini

| 1914

| Il sacco di Roma

| 70 mm

| 2.52

|

| 5 perf, 2 sides

| spherical

| 70 mm

|

|

| spherical}}

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| 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)}}

{{List of film formats/row template

| 11 mm

| (American)

| 1916

| unknown (amateur format)

| 11 mm

|

|

| 1 perf, center

| spherical

| 11 mm

|

|

| spherical}}

{{List of film formats/row template

| Movette

| Movette Camera Company

| 1917

| unknown (amateur format)

| 17.5 mm

|

|

| 2 perfs, 2 sides (rounded)

| spherical

| 17.5 mm

|

|

| spherical}}

{{List of film formats/row template

| 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}}

{{List of film formats/row template

| Clou

| (Austrian)

| 1920

| unknown (amateur format)

| 17.5 mm

|

|

| 2 perf, 2 sides

| spherical

| 17.5 mm

|

|

| spherical}}

{{List of film formats/row template

| 26 mm

| (French)

| 1920

| unknown (amateur format)

| 26 mm

|

|

| 1 perf, 1 side

| spherical

| 26 mm

|

|

| spherical}}

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| 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}}

{{List of film formats/row template

| 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}}

{{List of film formats/row template

| WidescopeSherlock, p. 40.

| 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}}

{{List of film formats/row template

| Cinebloc

| Ozaphan

| 1922

| unknown (amateur format)

| 22 mm

|

|

| 2 perf, 2 sides

| spherical

| 22 mm

|

|

| spherical}}

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| Tri-Ergon soundfilm

| 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}}

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| 16 mmHummel, p. 16.

| 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}}

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| Duplex

| G.J. Bradley

| 1923

| unknown (amateur format)

| 11 mm

|

|

| 2 perf, 2 sides (rounded)

| spherical

| 11.5 mm

|

|

| spherical}}

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| 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}}

{{List of film formats/row template

| Cinelux

| Ozaphan

| 1924

| unknown (amateur format)

| 24 mm

|

|

|

| spherical

| 24 mm

|

|

| spherical}}

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| 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}}

{{List of film formats/row template

| Natural VisionSherlock, p. 5-6.

| 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}}

{{List of film formats/row template

| 13 mm

| (French)

| 1925

| unknown (amateur format)

| 13 mm

|

|

| 4 perf, center

| spherical

| 13 mm

|

|

| spherical}}

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| 18 mm

| (Russian)

| 1925

| unknown (amateur format)

| 18 mm

|

|

| 1 perf, 2 sides

| spherical

| 18 mm

|

|

| spherical}}

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| 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}}

{{List of film formats/row template

| Widevision

| John D. Elms & George W. Bingham

| 1926

| Natural Vision Pictures

| 57 mm

|

|

| 5 perf, 2 sides

| spherical

| 57 mm

|

|

| spherical}}

{{List of film formats/row template

| Magnascope

| 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)}}

{{List of film formats/row template

| 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}}

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| PolyvisionSherlock, p. 4.

| 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}}

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| 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}}

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| MagnafilmSherlock, p. 5.

| 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}}

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| Fox Grandeur

| 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}}

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| Fearless Super PicturesSherlock, p. 6.

| Ralph G. Fear

| 1929

|

| 35 mm

| 2.27

| 1.813" × 0.800"

| 10 perfs, 2 sides, horizontal

| spherical

| 35 mm, horizontal

|

|

| spherical}}

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| Fearless Super-Film /
Magnifilm /
Fox VitascopeSherlock, p. 6-7.

| 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}}

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| Realife

| 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}}

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| 50 mmSherlock, p. 59.

| Fox Film Corporation & SMPE

| 1930

|

| 50 mm

| 1.80

| 1.325" × 0.735"

|

| spherical

| 50 mm

| 1.80

| 1.305" × 0.725"

| spherical}}

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| 17 mm sound

| (French)

| 1930

| unknown (amateur format)

| 17 mm

|

|

| 1 perf, 1 side

| spherical

| 17 mm

|

|

| spherical}}

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| 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)}}

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| Kodel Kemco Homovie

| Clarence Ogden

| 1931

| unknown (amateur format)

| 16 mm

|

| 4 sequential images per frame

| 1 perf, 2 sides

| spherical

| 16 mm

|

|

| spherical}}

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| Academy formatHummel, p. 10.

| 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

}}

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| 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}}

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| 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}}

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| 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}}

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| 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}}

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| CineramaHart, [http://www.widescreenmuseum.com/widescreen/cineramaspecs.htm Cinerama Specs].

| 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}}

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| Matted 1.66

| 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}}

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| Matted 1.85

| 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}}

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| 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}}

{{List of film formats/row template

| CinemascopeHart, [http://www.widescreenmuseum.com/widescreen/cinemascopespecs.htm CinemaScope Specs] and [http://www.widescreenmuseum.com/widescreen/apertures.htm Of Apertures and Aspect Ratios].

| 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}}

{{List of film formats/row template

| ArnoldscopeHart, [http://www.widescreenmuseum.com/Widescreen/wingup1.htm Ultra Panavision, p. 1].

| John Arnold

| 1953

|

| 35 mm

|

|

| 10 perf, 2 sides, horizontal

| spherical

|

|

|

| }}

{{List of film formats/row template

| VistaVisionHart, [http://www.widescreenmuseum.com/widescreen/vistavisionspecs.htm VistaVision Specs].

| 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}}

{{List of film formats/row template

| VistaVision Large AreaSherlock, p. 27.

| 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}}

{{List of film formats/row template

| SuperscopeHart, [http://www.widescreenmuseum.com/widescreen/superscopespecs.htm SuperScope Specs].

| 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}}

{{List of film formats/row template

| CircaramaSherlock, p. 19-20.

| 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}}

{{List of film formats/row template

| Todd-AOEven 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.Hart, [http://www.widescreenmuseum.com/widescreen/todd-aospecifications.htm Todd A.O. Specs].

| 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}}

{{List of film formats/row template

| CinemaScope 55Hart, [http://www.widescreenmuseum.com/widescreen/cinemascopespecs.htm CinemaScope Specs].

| 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}}

{{List of film formats/row template

| 9.5 DuplexPatrice-Hervé Pont, Jean Loup Princelle: 50 Ans de Caméras Françaises, Le Reve Édition, Ondreville-sur-Essonne, France, 2007, {{ISBN|2-9522521-3-0}}, page 107

| 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°}}

{{List of film formats/row template

| 8 mm PanoramicPatrice-Hervé Pont, Jean Loup Princelle: 50 Ans de Caméras Françaises, Le Reve Édition, Ondreville-sur-Essonne, France, 2007, {{ISBN|2-9522521-3-0}}, --> page num 51

| Dimaphot, Paris

| 1955

| ?

| 16 mm

| 1.5

| 5 mm × 7.5 mm

| 1 perf, 2 sides

| spherical

| 8 mm

|

|

| spherical, rotated 90°}}

{{List of film formats/row template

| Emel PanoscopePatrice-Hervé Pont, Jean Loup Princelle: 50 Ans de Caméras Françaises, Le Reve Édition, Ondreville-sur-Essonne, France, 2007, {{ISBN|2-9522521-3-0}}, --> page num 59

| Emel, Paris

| 1955

| ?

| 16 mm

| 2.7

| 3.5 mm × 9.6 mm

| 2 perf, 2 sides

| spherical

| 16 mm

|

|

| spherical}}

{{List of film formats/row template

| TechniramaHart, [http://www.widescreenmuseum.com/widescreen/techniramaspecs.htm Technirama Specs].

| 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}}

{{List of film formats/row template

| Technirama Large Area

| 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}}

{{List of film formats/row template

| Dynamic FrameSherlock, p. 58.

| 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}}

{{List of film formats/row template

| Superscope 235

| 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}}

{{List of film formats/row template

| ThrillaramaHart, [http://www.widescreenmuseum.com/widescreen/thrillarama_houston.htm Thrillarama]

| 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}}

{{List of film formats/row template

| Magirama

| 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}}

{{List of film formats/row template

| 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}}

{{List of film formats/row template

| Ultra PanavisionHart, [http://www.widescreenmuseum.com/widescreen/ultrapanavisionspecs.htm Ultra Panavision Specs].

| 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}}

{{List of film formats/row template

| CinestageSherlock, p. 31.

| 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}}

{{List of film formats/row template

| 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}}

{{List of film formats/row template

| Modern anamorphicHummel, p. 13.

| 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}}

{{List of film formats/row template

| KinopanoramaSherlock, p. 11-12.

| 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}}

{{List of film formats/row template

| 70 mmHummel, p. 17.

| 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}}

{{List of film formats/row template

| CinemiracleHart, [http://www.widescreenmuseum.com/widescreen/cinemiraclespecs.htm Cinemiracle Specs].

| 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}}

{{List of film formats/row template

| Super Technirama

| 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}}

{{List of film formats/row template

| Smith-Carney SystemHart, [http://www.widescreenmuseum.com/widescreen/smith-carney.htm The Smith-Carney System].

| 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}}

{{List of film formats/row template

| Circular Kinopanorama / CircloramaSherlock, p. 19.

| 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}}

{{List of film formats/row template

| VarioscopeFromm, Gerhard. [http://www.in70mm.com/newsletter/1999/57/jacobsen/index.htm "The Work of Jan Jacobsen"], ..in 70 mm: The 70 mm Newsletter, Issue 57 (June 1999). Retrieved 2008-12-01.

| 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}}

{{List of film formats/row template

| QuadravisionNilsen, Sarah Dawn. Projecting America: Films at the Brussels World's Fair of 1958, p. 96. University of Southern California Press, 2000.

| 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}}

{{List of film formats/row template

| TechniscopeHart, [http://www.widescreenmuseum.com/widescreen/techniscopespecs.htm Techniscope Specs].

| 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}}

{{List of film formats/row template

| Wonderama (Arc 120)Sherlock, p. 18.

| 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}}

{{List of film formats/row template

| Cine System 3Nystrom{{cite web|publisher =National Film and Sound Archive|website = Preservation Glossary |url = https://www.nfsa.gov.au/preservation/preservation-glossary/film-gauges|title =Film Gauges|url-status = live |archive-url= https://web.archive.org/web/20090221002128/http://www.nfsa.gov.au/preservation/audiovisual_terms/audiovisual_item.php?term=Film%20Gauges |archive-date=2009-02-21 }}

| Eric Berndt

| 1960

| USAF and NASA usage

| 3 mm

|

|

| 1 perf, centered

| spherical

|

|

|

| }}

{{List of film formats/row template

| Grandeur 70Hart, [http://www.widescreenmuseum.com/widescreen/wingcs6.htm CinemaScope, p. 6].

| 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}}

{{List of film formats/row template

| Cinerama 360

| 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}}

{{List of film formats/row template

| 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}}

{{List of film formats/row template

| Real Sound{{citation needed|date=December 2017}}

| Kenner

| 1965

|

| no standard

| no standard

| no standard

| 1 perf, 1 side

| spherical

| 11.5 mm

| 1.33

| 0.172" × 0.129"

| spherical}}

{{List of film formats/row template

| Double Super 8{{citation needed|date=December 2017}}

| 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}}

{{List of film formats/row template

| Single-8"Viewpoint Japan", The British Journal of Photography, December 3, 1965, p. 1050.

| 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}}

{{List of film formats/row template

| Dimension 150Sherlock, p. 17-18.

| 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}}

{{List of film formats/row template

| Circle Vision 360

| 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}}

{{List of film formats/row template

| 8.75 mmClark, Paul. The Chinese Cultural Revolution: A History, p. 146. Cambridge: Cambridge University Press, 2008.

| Shanghai Film Projection Equipment Factory

| 1968

| unknown (amateur format)

|

|

|

| 1 perf

| spherical

| 8.75 mm

|

|

| spherical}}

{{List of film formats/row template

| AstrovisionSherlock, p. 37.

| Goto Optical

| 1969

|

| 65 mm

|

|

| 10 perf, 2 sides

| spherical or fish-eye

| 70 mm

|

|

| fish-eye (dome projection)}}

{{List of film formats/row template

| IMAXHummel, p. 18.

| 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}}

{{List of film formats/row template

| Super 16 mm film

| 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}}

{{List of film formats/row template

| Pik-a-Movie[http://www.in70mm.com/newsletter/1998/54/pik_a_movie/index.htm "Pik-A-Movie"], British Kinematography Sound and Television, August 1973. Retrieved 2008-07-07.

| 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}}

{{List of film formats/row template

| OMNIMAXHummel, p. 18-19.

| 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}}

{{List of film formats/row template

| 8/70 (Dynavision,
Iwerks 870)Hummel, p. 19.

| 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}}

{{List of film formats/row template

| ShowscanSherlock, p. 39

| 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}}

{{List of film formats/row template

| PolavisionGiambarba, Paul. The Branding of Polaroid 1957–1977, [http://giam.typepad.com/the_branding_of_polaroid_/18_polaroid_polavision_product_identity_by_pg/index.html Chapter 18], 2004-09-01. Retrieved 2008-07-07.

| 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}}

{{List of film formats/row template

| Cinema 180{{cite web|last =Aridi|first= Sal|url =http://www.soc.org/opcam/16_jd00/mg16_lrgfrmt.html |title= Large Format Cinematography|url-status = dead|archive-url=https://web.archive.org/web/20080629163339/http://www.soc.org/opcam/16_jd00/mg16_lrgfrmt.html |archive-date=2008-06-29 |work =Operating Cameraman|date= July–December 2000}}

| 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}}

{{List of film formats/row template

| Super 35Hummel, p. 11.

| 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}}

{{List of film formats/row template

| Circle Vision 200Sherlock, p. 20

| 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}}

{{List of film formats/row template

| Swissorama 360 / Imagine 360Piccolin, Lukas. [http://www.in70mm.com/news/2004/swissorama/index.htm "All-Around Cinema"], in70mm.com, 2004-10-01. Retrieved 2008-07-07.

| 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}}

{{List of film formats/row template

| Super Duper 8 /
Max 8 /
Super 8BVigeant, Phil. Technical schematic drawings of Max8 format, Pro8mm, 2005-11-09.{{cite web|url=http://www.friendlyfirefilms.com/liftarticle.html|title=Sleep Always lift article|last=www.jelve.com|website=www.friendlyfirefilms.com}}

| 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}}

{{List of film formats/row template

| 3-perfHummel, p. 20.

| 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}}

{{List of film formats/row template

| Super VistaVision[http://www.in70mm.com/newsletter/1996/45/restore/index.htm "Upcoming Re-release of Vertigo"], Los Angeles Times, 1996-06-16. Retrieved 2008-07-07.

| 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}}

{{List of film formats/row template

| Kinoton HDFSLobban, Grant. "Widescreen and 3D Formats Wallchart", BKSTS. [year unknown]

| Kinoton

| 1990

|

| no standard

| no standard

| no standard

| no standard

| no standard

| 35 mm

| 2.00

| 0.931" × 0.698"

| 1.5× anamorphic}}

{{List of film formats/row template

| IMAX Magic CarpetSchwartzberg, Schlomo. [http://findarticles.com/p/articles/mi_m1319/is_n1_v28/ai_14029398 "IMAX: Oscar nominated Canadian company on the leading edge of technology"] {{webarchive|url=https://web.archive.org/web/20090215054207/http://findarticles.com/p/articles/mi_m1319/is_n1_v28/ai_14029398 |date=2009-02-15 }}, Performing Arts and Entertainment in Canada, Spring 1993. Retrieved 2008-07-07.

| 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}}

{{List of film formats/row template

| IwerksphereKatz, Stephen Douglas. Film Directing Shot by Shot: Visualizing from Concept to Screen, p. 330. Michael Wiese Productions, 1991.

| 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}}

{{List of film formats/row template

| IMAX HDNaimark, "Giant Rectangular Screens".

| 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}}

{{List of film formats/row template

| HexiplexNaimark, "Cylindrical Screens".

| (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}}

{{List of film formats/row template

| Ultra Toruscope

| 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}}

{{List of film formats/row template

| Imagination FX 7012

| 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}}

{{List of film formats/row template

| UnivisiumStoraro, Vittorio. [http://www.cinematography.net/Files/univision.pdf Storaro's notes on Univision], date unknown. Retrieved on 2006-12-01.

| 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}}

{{List of film formats/row template

| MaxivisionHindes, Andrew. [https://variety.com/1999/film/news/sticking-with-35mm-1117493379/ Sticking with 35mm], Variety, 1999-04-19. Retrieved 2008-05-16.

| Dean Goodhill

| 1999

|

| 35 mm

| 1.79

| 0.980" × 0.546"

| 3 perf, 2 sides

| spherical

| 35 mm, 3 perf

| 1.85

|

| spherical}}

{{List of film formats/row template

| Maxivision 48

| 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}}

{{List of film formats/row template

| Super Dimension 70Weisgerber, Robert. [http://www.in70mm.com/newsletter/2001/64/sds_70/index.htm Super Dimension 70: New 70 mm Process Demonstrated], in70mm.com, Issue 63 (March 2001). Retrieved 2008-05-17.

| 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}}

{{List of film formats/row template

| FuturVision 360

|

|

|

| 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}}

{{List of film formats/row template

| Mini-MaxLobban, Grant. "Film Gauges and Soundtracks Wallchart", BKSTS. [year unknown]

| Vistascope

|

|

| 35 mm

| 2.66

|

| 2 perf, 2 sides, 30 frame/s

| spherical

| 35 mm

| 2.66

|

| spherical}}

{{List of film formats/row template

| MotionMaster[http://www.highbeam.com/doc/1G1-45830723.html Motion Master]{{dead link|date=February 2019|bot=medic}}{{cbignore|bot=medic}}, Screen Digest, October 1, 1995. Retrieved 2008-05-17.

| 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}}

{{List of film formats/row template

| Row-filmNystrom, sidebar.

| R. Thun

|

|

| 35 mm

|

| 20 rows of images wide

|

| spherical

|

|

|

| spherical}}

{{List of film formats/row template

| Septorama

|

|

|

| ? mm × 7 cameras

| 1.33 × 7 negatives

|

|

| spherical

| ? mm × 7 projectors

| hemispherical view

|

| spherical}}

{{List of film formats/row template

| Single CineramaKimble, Greg. [http://www.in70mm.com/news/2002/this_is_cinerama/chapters/part_4.htm "This Is Cinerama!": Cinerama's 50th Anniversary, part 4] {{webarchive|url=https://web.archive.org/web/20080401000531/http://www.in70mm.com/news/2002/this_is_cinerama/chapters/part_4.htm |date=2008-04-01 }}, in70mm.com, 2002-06-10. Retrieved 2008-05-16.

| Fred Waller

|

|

| 35 mm

|

| curved gate

| 16 perf, 2 sides, horizontal

| spherical

| 35 mm, horizontal

| curved screen

|

| spherical}}

{{List of film formats/row template

| Soviet 10Sherlock, p. 58

|

|

|

| 65 mm

|

|

| 10 perf, 2 sides

| 2× anamorphic

| 70 mm

| 2.09

| 1.890" × 1.811"

| 2× anamorphic}}

{{List of film formats/row template

| Vario-35

|

|

|

| 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}}

{{List of film formats/row template

| Vario-35A

|

|

|

| 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)}}

{{List of film formats/row template

|Vario-70

|

|

|

| 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}}

|- class="sortbottom"

! style="cursor:default" | Format

! Creator

! title="Year created" | Est.

! First
known work

! Negative
gauge

! title="Negative aspect ratio" | Negative
A/R

! title="Camera gate dimensions" | Gate
dims

! Negative
pulldown

! Negative
lenses

! Projection
gauge

! title="Projection aspect ratio" | Projection
A/R

! title="Projection dimensions" | Projection
dims

! Projection
lenses

|}

See also

{{portal|Film}}

Notes

{{Reflist}}

References

  • Carr, Robert E. and Hayes, R. M., Wide Screen Movies. A History and Filmography of Wide Gauge Filmmaking. Mc Farland & Company, 1988.
  • Hart, Martin. [http://www.widescreenmuseum.com/index.htm American Widescreen Museum], 1996–2008. Retrieved on 2008-05-16.
  • Herbert, Stephen and Luke McKernan, eds. [http://www.victorian-cinema.net/index.htm Who's Who of Victorian Cinema], 1996–2006. Retrieved on 2006-12-01.
  • Hummel, Rob (editor). American Cinematographer Manual, 8th edition. Hollywood: ASC Press, 2001.
  • Naimark, Michael. [http://www.naimark.net/writing/expo.html Expo '92 Seville], Presence, Vol. 1, No. 3. MIT Press, Summer 1992. Retrieved on 2006-12-01.
  • Nystrom, J.E. [http://www.sparetimelabs.com/animato/animato/filmhist/filmhist.html History of sub-35mm Film Formats and Cameras], 1998–2001. Retrieved on 2006-12-01.
  • Sherlock, Daniel J. [https://wayback.archive-it.org/all/20080309094629/http://www.film-tech.com/warehouse/tips/WSMC20.pdf "Wide Screen Movies" Corrections], 1994–2004. Retrieved on 2006-12-01.

Further reading

{{refbegin}}

  • Baumgarten, Martin W. [https://web.archive.org/web/20120123010418/http://lavender.fortunecity.com/lavender/569/8mmfilmgauges.html 8 mm Film Gauges], 2006. Retrieved on 2006-12-01.
  • de Vries, Tjitte. [http://www.xs4all.nl/%7Ewichm/myth.html "Cinematographe Lumiere" a myth? Who invented the cinema?], 2006. Retrieved on 2006-10-22.
  • Eastman Kodak Corporation. [http://www.kodak.com/US/en/motion/s8mm/s840yr.jhtml 40 Years of Super 8], 2005. Retrieved on 2006-12-01.
  • Eastman Kodak Corporation. [https://web.archive.org/web/20061118131953/http://kodak.com/US/en/motion/about/chrono1.shtml Kodak Chronology of Motion Picture Films]. 2003. Retrieved on 2006-12-01.
  • eFilmCenter. [https://web.archive.org/web/20060404233440/http://www.film-center.com/formats.html Ultimate Table of Formats and Aspect Ratios], date unknown. Retrieved on 2006-12-01.
  • Fisher, David. [http://www.terramedia.co.uk/Chronomedia/index.htm Chronomedia], 1970–2006. Retrieved on 2006-10-22.
  • Hart, Douglas C. The Camera Assistant: A Complete Professional Handbook. Newton, Massachusetts: Focal Press, 1996.
  • Hauerslev, Thomas, ed. [http://www.in70mm.com/ in70mm.com], 1985–2006. Retrieved on 2006-12-01.
  • Hayes, John. [http://widescreenmovies.org/WSM01/history.htm But First, a Brief History of Widescreen...] Wide Screen Movies Magazine, Vol. 1, 2002. Retrieved on 2006-12-01.
  • Herbert, Stephen. [https://web.archive.org/web/20060428085402/http://easyweb.easynet.co.uk/%7Es-herbert/explan.htm Museum of the Moving Image], date unknown. Retrieved on 2006-12-01.
  • Horak, Jan-Christopher. [https://web.archive.org/web/20041018220717/http://www.cinema.ucla.edu/tank/GaugesHorak.htm Introduction to Film Gauges]. UCLA Film and Television Archive, 2000. Retrieved on 2006-12-01.
  • Internet Movie Database Incorporated. [https://www.imdb.com/ Internet Movie Database], 1990–2006. Retrieved on 2006-12-01.
  • Jennings, Tom (editor). [http://www.deadmedia.org/ The Dead Media Project], 2001? Retrieved on 2006-10-22.
  • Kattelle, Alan. [https://web.archive.org/web/20051104223116/http://www.oldfilm.org/nhfWeb/ed/03Symp/03Symp_Kattelle.htm A Brief History of Amateur Film Gauges and Related Equipment, 1899–2001], 2003. Retrieved on 2006-10-22.
  • Library of Congress, [http://memory.loc.gov/ammem/edhtml/edmvhist.html History of Edison Motion Pictures], date unknown. Retrieved on 2006-12-01.
  • MCC Logical Designs. [https://web.archive.org/web/20061214060801/http://www.moviecamera.co.za/info.htm Technical Info]. date unknown. Retrieved on 2006-12-01.
  • Mendrala, Jim. [http://www.tech-notes.tv/Jim/Articles/Cut-Off.html Aspect Ratio and Image Cutoff], 1994. Retrieved on 2006-10-22.
  • Munafo, Robert P. [http://www.mrob.com/pub/film-video/filmformats.html Film Formats at MROB], 1996–2008. Retrieved on 2006-12-01.
  • Musser, Charles. [https://web.archive.org/web/20060318214227/http://www.kino.com/edison/pdfs/FilmNotes_DVD1.pdf Edison film notes], 2005. Retrieved on 2006-12-01.
  • Naughton, Russell. [https://webarchive.nla.gov.au/awa/20040302130000/http://pandora.nla.gov.au/pan/13071/20040303-0000/www.acmi.net.au/AIC/phd9900.html Adventures in Cybersound]{{cbignore|bot=medic}}, 1998–2003. Retrieved on 2006-10-22.
  • Newnham, Grahame. [https://web.archive.org/web/20060216073651/http://www.pathefilm.freeserve.co.uk/index.html Pathefilm collecting], 2000–2006. Retrieved on 2006-12-01.
  • Norwood, Scott E. [http://www.film-tech.com/warehouse/tips/faq2/faq2.html Film Tech FAQ], 1998. Retrieved on 2006-12-01.
  • Panavision Incorporated. [https://web.archive.org/web/20060315214728/http://www.panavision.com/aspect_ratio.php Panavision: Technical Information: Aspect Ratio Overview], 2004. Retrieved on 2006-12-01.
  • Roepke, Martina and Henk Verheul. [http://web.inter.nl.net/users/ernemann/ Ernemann film], 2002–2006. Retrieved on 2006-12-01.
  • Science Museum Group. [https://collection.sciencemuseumgroup.org.uk/search/categories/cinematography Cinematography collection]. Retrieved 2020-05-04.
  • ScreenSound Australia. [https://web.archive.org/web/20060203112503/http://www.screensound.gov.au/glossary.nsf/Pages/Format?OpenDocument Film Formats], date unknown. Retrieved on 2006-12-01.
  • ScreenSound Australia. [https://web.archive.org/web/20010726233846/http://www.screensound.gov.au/glossary.nsf/Pages/Film+Gauges?OpenDocument Film Gauges], date unknown. Retrieved on 2006-12-01.
  • Society of Camera Operators. [https://web.archive.org/web/20060923031104/http://www.soc.org/magazine.html Operating Cameraman Magazine], 1991–2005. Retrieved on 2006-12-01.
  • UCLA Film and Television Archive. [https://web.archive.org/web/20060427162137/http://www.cinema.ucla.edu/CPM%20Voyager/CPMV26.html UCLA Film and Television Archive Terminology, Definitions, and Abbreviations List], 2004. Retrieved on 2006-12-01.
  • unknown author. [https://web.archive.org/web/20030701112550/http://member.melbpc.org.au/~cksm/Formats.html Formats 8 mm], 2004–2005. Retrieved on 2008-06-23.
  • Vigeant, Rhonda. [https://web.archive.org/web/20070928115734/http://www.pro8mm.com/pro8_pdfs/Press/pressmarch_1_2005.pdf Max 8 Press Release], 2005. Retrieved on 2006-12-01.
  • Westphal, Kyle. [https://www.chicagofilmsociety.org/2016/02/02/magnascope/ An Enlarged History of Magnascope], 2016. Retrieved on 2018-01-18
  • Wittmann, Armin Michael. [http://e-collection.ethbib.ethz.ch/ecol-pool/diss/fulltext/eth13434.pdf One Long Image]. Dissertation for the Swiss Federal Institute of Technology, Zurich, 1999. Retrieved on 2006-12-01.

{{refend}}

{{Film formats}}

Film formats

Film formats

*

{{DEFAULTSORT:Motion picture film formats}}