article

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.

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.

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

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

Print

  • 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

Movie film formats | Cinematography | Mass media lists | Lists of films

 

This article is licensed under the GNU Free Documentation License. It uses material from the "List of film formats".

Home Page • arts • business • computers • games • health • hospitals • home • kids & teens • news • physicians • recreation• reference • regional • science • shopping • society • sports • world