List of film formats
From Wikipedia, the free encyclopedia
This list of film formats catalogues formats developed for shooting or viewing motion pictures, ranging from the Chronophotographe format from 1888, to mid-20th century formats such as the 1953 CinemaScope format, to more recent formats such as the 1992 IMAX HD format. The formats listed all should 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.).
Contents |
[edit] 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). [1]
- Gate dimensions are the width and height of the camera gate aperture, and by extension the film negative frame.
- Negative pulldown describes the film perforations per frame, the direction of film transport, and standard frame speed. Film transport is assumed to be vertical unless otherwise noted, and standard frame speed is assumed to be 24 frames per second unless the film is otherwise noted or has no standard. Silent film has no standard speed; many amateur formats have several common speeds, but no standard.
- Negative lenses indicates whether spherical (normal) or anamorphic lenses are used on the original camera negative, and if anamorphic lenses, what anamorphic power is used.
- Projection gauge is the film gauge (width) used for the release print.
- Projection aspect ratio is the image ratio determined by the ratio of the projection dimensions multiplied by the anamorphic power of the projection lenses (1x in the case of spherical lenses). This is also known as the intended theatrical aspect ratio. [1]
- Projection dimensions are the width and height of the projector aperture plate, and by extension the film frame area which is projected. The aperture plate always very slightly crops the frame.
- Projection lenses indicates whether spherical (normal) or anamorphic lenses are used on the projector, and if anamorphic lenses, what anamorphic power is used.
Formats are listed in chronological order and by release date in the case of multiple formats within one year, if this can be determined. Undated formats are listed at the bottom in alphabetical order.
[edit] 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[1] | Gate dimensions | Negative pulldown | Negative lenses | Projection gauge | Projection aspect ratio[1] | 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 | |||||
| Kinetoscope 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 | Blacksmith 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 13 mm | John Alfred Prestwich | 1899 | unknown (amateur format) | 13 mm | spherical | 13 mm | spherical | |||||
| Mirograph | Reulos, Goudeau & Co | 1900 | unknown (amateur format) | 21 mm | 1 notch, 2 sides | spherical | 21 mm | spherical | ||||
| Lumiere Wide | 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 |
| Phonofilm | Lee De Forest | 1922 | Barking Dog and Flying Jenny Airplane | 35 mm | 1.33 | 0.980" x 0.735" | 4 perf, 2 sides | spherical | 35 mm | 1.17 | 0.826" x 0.708" | 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 | Niagara Falls and Rollercoaster Ride | 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) |
| Fox Movietone | Freeman Harrison Owens, Theodore Case, Tri-Ergon | 1927 | Sunrise | 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 |
| Fox Grandeur | Fox Film Corporation | 1929 | Fox Grandeur News and Fox Movietone Follies of 1929 | 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 | Fox Film Corporation 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.[2] | 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 80 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[2] | 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: In the Beginning | 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 |
| Pik-a-Movie | 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" x 0.166", 12 rows high, underneath 12 rows of optical sound | 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 Corporation | 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 |
| Ultra Toruscope | Mac McCarney | 1992 | 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 | |
| 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 | |||||
| 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[1] | Gate dimensions | Negative pulldown | Negative lenses | Projection gauge | Projection aspect ratio[1] | Projection dimensions | Projection lenses |
[edit] Notes
- ^ a b c d e f Strictly speaking, aspect ratios for film are always expressed as the ratio of 1 and are formatted as x:y, e.g. 1.85:1. However, in the interest of formatting, the aspect ratios listed will assume the ratio of 1 and omit the :1 suffix.
- ^ a b 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.
[edit] References
[edit] 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.
[edit] Websites
- Baumgarten, Martin W. 8 mm Film Gauges, 2006. Retrieved on 2006-12-01.
- Baumgarten, Martin W. A Short History of Small Gauge Movie Films, 2000. Retrieved on 2006-12-01.
- de Vries, Tjitte. "Cinematographe Lumiere" a myth? Who invented the cinema?, 2006. Retrieved on 2006-10-22.
- Eastman Kodak Corporation. 40 Years of Super 8, 2005. Retrieved on 2006-12-01.
- Eastman Kodak Corporation. Kodak Chronology of Motion Picture Films. 2003. Retrieved on 2006-12-01.
- eFilmCenter. Ultimate Table of Formats and Aspect Ratios, date unknown. Retrieved on 2006-12-01.
- Fisher, David. Chronomedia, 1970-2006. Retrieved on 2006-10-22.
- Hart, Martin. American Widescreen Museum, 1996-2006. Retrieved on 2006-10-22.
- Hauerslev, Thomas, ed. in70mm.com, 1985-2006. Retrieved on 2006-12-01.
- Hayes, John. But First, a Brief History of Widescreen... Wide Screen Movies Magazine, Vol. 1, 2002. Retrieved on 2006-12-01.
- Herbert, Stephen. Museum of the Moving Image, date unknown. Retrieved on 2006-12-01.
- Herbert, Stephen and Luke McKernan, eds. Who's Who of Victorian Cinema, 1996-2006. Retrieved on 2006-12-01.
- Horak, Jan-Christopher. Introduction to Film Gauges. UCLA Film and Television Archive, 2000. Retrieved on 2006-12-01.
- Internet Movie Database Incorporated. Internet Movie Database, 1990-2006. Retrieved on 2006-12-01.
- Jennings, Tom (editor). The Dead Media Project, 2001? Retrieved on 2006-10-22.
- Kattelle, Alan. A Brief History of Amateur Film Gauges and Related Equipment, 1899-2001, 2003. Retrieved on 2006-10-22.
- Library of Congress, History of Edison Motion Pictures, date unknown. Retrieved on 2006-12-01.
- MCC Logical Designs. Technical Info. date unknown. Retrieved on 2006-12-01.
- Mendrala, Jim. Aspect Ratio and Image Cutoff, 1994. Retrieved on 2006-10-22.
- Munafo, Robert P. Film Formats at MROB, 1996-2006. Retrieved on 2006-12-01.
- Musser, Charles. Edison film notes, 2005. Retrieved on 2006-12-01.
- Naimark, Michael. Expo '92 Seville, Presence, Vol. 1, No. 3. MIT Press, 1992. Retrieved on 2006-12-01.
- National Media Museum. Collections Department, 2006. Retrieved 2006-12-01.
- Naughton, Russell. Adventures in Cybersound, 1998-2003. Retrieved on 2006-10-22.
- Newnham, Grahame. Pathefilm collecting, 2000-2006. Retrieved on 2006-12-01.
- Norwood, Scott E. Film Tech FAQ, 1998. Retrieved on 2006-12-01.
- Nystrom, J.E. History of sub-35mm Film Formats and Cameras, 1998-2001. Retrieved on 2006-12-01.
- Panavision Incorporated. Panavision: Technical Information: Aspect Ratio Overview, 2004. Retrieved on 2006-12-01.
- Roepke, Martina and Henk Verheul. Ernemann film, 2002-2006. Retrieved on 2006-12-01.
- ScreenSound Australia. Film Formats, date unknown. Retrieved on 2006-12-01.
- ScreenSound Australia. Film Gauges, date unknown. Retrieved on 2006-12-01.
- Sherlock, Daniel J. "Wide Screen Movies" Corrections, 1994-2004. Retrieved on 2006-12-01.
- Society of Camera Operators. Operating Cameraman Magazine, 1991-2005. Retrieved on 2006-12-01.
- Storaro, Vittorio. Storaro's notes on Univision, date unknown. Retrieved on 2006-12-01.
- UCLA Film and Television Archive. UCLA Film and Television Archive Terminology, Definitions, and Abbreviations List, 2004. Retrieved on 2006-12-01.
- unknown author. Formats 8 mm, 2004-2005. Retrieved on 2006-12-01.
- Vigeant, Rhonda. Max 8 Press Release, 2005. Retrieved on 2006-12-01.
- Wittmann, Armin Michael. One Long Image. Dissertion for the Swiss Federal Institute of Technology, Zurich, 1999. Retrieved on 2006-12-01.
de:Filmformat (Film)
