Download Process Control At Polaroid Pdf 825

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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. 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.

Download Process Control At Polaroid Pdf 825 Pdf

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[edit]

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.

Download Process Control At Polaroid Pdf 825

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[edit]

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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.

Format	Creator	Est.	First known work	Negative gauge	Negative A/R^[1]	Gate dims	Negative pulldown	Negative lenses	Projection gauge	Projection A/R^[1]	Projection dims	Projection lenses
Chronophotographe^[2]	Étienne-Jules Marey	1888	motion analysis studies	90 mm	1.00	3.543' x 3.543'	unperforated	spherical
Paper film^[3]	Louis Le Prince	1888	Roundhay Garden Scene	65 mm	1.00	unperforated	spherical	not known	1.00	spherical
Machine Camera	Wm. Friese-Greene	1889	Hyde Park Corner & Marble Arch	65 mm	1.00	pin wheel perforation	spherical
Kinetoscope cylinder	Wm. Dickson & T. Edison	1889 or 1890	Monkeyshines, No. 1	strip rolled around a cylinder	unperforated	spherical	spherical
Kinesigraph	Wordsworth Donisthorpe	1890 or 1891	view of Trafalgar Square	70 mm	1.00	unperforated	spherical
Friese-Greene	Wm. Friese-Greene	1891	King's Road, Chelsea, London	60 mm	1.325	8 round perfs, 2 sides	spherical
Kinetoscope horizontal	Wm. Dickson & William Heise	1891	Dickson Greeting	19 mm	6 perf, 1 side, horizontal	spherical	spherical
Silent film standard	Wm. Dickson & T. Edison	1892	Blacksmith Scene	35 mm	1.33	0.980' x 0.735'	4 perf, 2 sides	spherical	35 mm	1.33	0.931' x 0.698'	spherical
Bioscop	Max Skladanowsky	1892	footage of Emil Skladanowsky	54 mm	unperforated (camera); 4 perf, 2 sides (projection)	spherical	54 mm (two strips interleaved)	spherical
Eidoloscope^[4]	Woodville Latham	1895	Griffo-Barnett Prize Fight	51 mm	1.85	1.457' x 0.787'	4 perf, 2 sides	spherical	51 mm	1.85	spherical
Cinematographe	Lumière Brothers	1895	La Sortie des Usines Lumiere	35 mm	1.33	0.980' 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	2 perf, 2 sides	spherical	38 mm	spherical
Veriscope	Enoch Rector	1897	The 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	Lumière Brothers	1900	75 mm	1.33	2.362' x 1.772'	8 perf, 2 sides	spherical	75 mm	1.33	spherical
Cinéorama	R. Grimoin-Sanson	1900	Cinéorama	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	Pathé	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^[5]	Filoteo Alberini	1914	Il sacco di Roma	70 mm	2.52	5 perf, 2 sides	spherical	70 mm	spherical
Split Duplex	Duplex Corporation	1915	35 mm	1.33	0.980' 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 F. 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	Pathé	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^[6]	John D. Elms & 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^[6]	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^[7]	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^[8]	George K. Spoor & P. John Berggren	1925	Niagara Falls and Rollercoaster Ride	63.5 mm	1.84	2.060' x 1.120'	6 perf, 2 sides, 20 frame/s	spherical	63.5 mm	2.00	spherical
13 mm	(French)	1925	unknown (amateur format)	13 mm	4 perf, center	spherical	13 mm	spherical
18 mm	(Russian)	1925	unknown (amateur format)	18 mm	1 perf, 2 sides	spherical	18 mm	spherical
Pathe Rural	Pathé	1926	unknown (amateur format)	17.5 mm	1.35 (silent); 1.30 (sound)	0.516' 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^[6]	John D. Elms & George W. Bingham	1926	Natural Vision Pictures	57 mm	5 perf, 2 sides	spherical	57 mm	spherical
Magnascope^[5]	Lorenzo del Riccio	1926	Old Ironsides	35 mm	1.33	0.980' 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)
F. H. Owens, T. 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^[9]	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
Hypergonar	Henri Chrétien	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
Magnafilm^[10]	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
Fox Grandeur^[10]	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 frame/s (before 1930)	spherical	70 mm	2.00	1.768' x 0.885'	spherical
Fearless Super Pictures^[11]	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^[12]	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^[11]	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^[13]	Fox Film Corporation & 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^[14]	AMPAS	1932	35 mm	1.375 (commonly abbreviated to 1.37)	0.868″ × 0.631″	4 perf, 2 sides	spherical	35 mm	1.37	0.825″ × 0.600″	spherical
8 mm	Eastman Kodak	1932	unknown (amateur format)	16 mm	1.32	0.192' 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 & 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^[15]	Fred Waller	1952	This is Cinerama	35 mm x 3 cameras	2.59 (3 x negatives)	0.996' x 1.116'	6 perf, 2 sides at 26 frame/s	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^[14]	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^[14]	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^[16]	20th Century Fox	1953	The Robe	35 mm	2.55 (1953–57); 2.35 (1957–67)	0.937' x 0.735' (1953–57); 0.868' x 0.735' (1957–67)	4 perf, 2 sides	2x anamorphic	35 mm	2.55 (1953–57); 2.35 (1957–67)	0.912' x 0.715' (1953–57); 0.839' x 0.715' (1957–67)	2x anamorphic
Arnoldscope^[17]	John Arnold	1953	35 mm	10 perf, 2 sides, horizontal	spherical
VistaVision^[18]	Paramount	1954	White Christmas	35 mm	1.51	1.495' x 0.991'	8 perf, 2 sides, horizontal	spherical	35 mm, 4 perf, vertical	1.85	0.825' x 0.446'	spherical
VistaVision Large Area^[18]^[19]	Paramount	1954	White Christmas	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 And understandably, the sound is very retro for 1960-1961, comprised as the record is primarily of the rock & roll and hardcore rockabilly numbers that he cut for Sun in 1956 (with his original group ) and 1957, including the -authored 'You're My Baby,' the / collaboration 'Rock House,' and ' 'Mean Little Mama' and 'Problem Child.' Not everything is quite as briskly paced as those two numbers, but even the ballads, such as 'Sweet and Easy to Love' and 'Devil Doll,' and the melodic 'This Kind of Love' and 'It's Too Late,' have an edge to them -- they stand midway between the rock & roll that was happening in 1956 and the more lush and dramatic sound that would perfect at Monument Records from 1959 onward. Although it was technically 's first album, wasn't really an LP effort on his part so much as a cash-in effort by Sun Records in the wake of 's later success on Monument Records with 'Uptown,' 'Only the Lonely,' etc. Download roy orbison at the rock house rar software. All of the material is fascinating as a sort of alternate-universe version of where might've headed musically, and most of it is downright bracing and exciting, though it's easy to see why it never succeeded at the time -- numbers like 'You're Gonna Cry' and 'Problem Child' were a little too intense and ambitious as rock & roll, with too many changes and involved lyrics, to hold that audience en masse.
Superscope^[20]	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
Circarama^[21]	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-AO^[22]^[23]	Michael Todd	1955	Oklahoma	65 mm	2.29	2.072' x 0.906'	5 perfs, 2 sides, at 30 frame/s	spherical	70 mm	2.21, with 120° curved screen	1.912' x 0.870'	spherical
CinemaScope 55^[24]	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
9.5 Duplex^[25]	Pathé Fréres	1955	?	9.5 mm	1.51	4.1 mm x 6.2 mm	2 central perforations in a 9.5mm film	spherical	4.75 mm	spherical, rotated 90°
8 mm Panoramic^[26]	Dimaphot, Paris	1955	?	16 mm	1.5	5 mm x 7.5 mm	1 perf, 2 sides	spherical	8 mm	spherical, rotated 90°
Emel Panoscope^[27]	Emel, Paris	1955	?	16 mm	2.7	3.5 mm x 9.6 mm	2 perf, 2 sides	spherical	16 mm	spherical
Technirama^[28]	Technicolor	1956	The Monte Carlo Story	35 mm	2.26	1.496' 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^[28]	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	2.42	1.421' x 0.881'	1.5x anamorphic
Dynamic Frame^[29]	Glenn Alvey	1956	The Door in the Wall	35 mm	1.3, 1.6, and 2.5	variable aperture plates	8 perf, 2 sides, horizontally	spherical	35 mm, 4 perf, vertical	1.3, 1.5, and 2.5	spherical
Superscope 235^[20]	Superscope Inc.	1956	Run for the Sun	35 mm	1.33	0.980' x 0.735'	4 perf, 2 sides	spherical	35 mm	2.35	0.839' x 0.715'	2x anamorphic
Thrillarama^[30]	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^[9]	Abel Gance	1956	Magirama	35 mm x 3 cameras (sides bounced off mirrors)	1.33 x 3 negatives	0.980' x 0.735'	4 perf, 2 sides	spherical	35 mm x 3 projectors (sides bounced off mirrors)	4.00	0.931' x 0.698'	spherical
MGM Camera 65	Panavision	1957	Raintree County	65 mm	2.76	2.072' x 0.906'	5 perf, 2 sides	1.25x anamorphic	70 mm	2.76	1.912' x 0.870'	1.25x anamorphic
Ultra Panavision^[31]	Panavision	1962	Mutiny on the Bounty	65 mm	2.76	2.072' x 0.906'	5 perf, 2 sides	1.25x anamorphic	70 mm	2.76	1.912' x 0.870'	1.25x anamorphic
Cinestage^[32]	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
Modern anamorphic^[33]	Panavision	1958	The Female Animal	35 mm	2.37	0.866' x 0.732'	4 perf, 2 sides	2x anamorphic	35 mm	2.35 (1957–70); 2.39 (1970–present)	0.839' x 0.715' (1957–70); 0.838' x 0.7' (1970–93); 0.825' x 0.690' (1993–present)	2x anamorphic
Kinopanorama^[34]	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 frame/s	spherical	35 mm x 3 projectors	2.72	0.985' x 1.088'	spherical
70 mm^[22]^[35]	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^[36]	National Theatres	1958	Windjammer	35 mm x 3 cameras (sides bounced off mirrors)	0.89 x 3 negatives	0.996' x 1.116'	6 perf, 2 sides at 26 frame/s	spherical	35 mm x 3 projectors (sides bounced off mirrors), with 6 perf pulldown	2.59, with 120° curved screen	0.985' x 1.088'	spherical
Super Technirama^[28]	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^[37]	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^[38]	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^[39]	Jan Jacobsen	1959	Flying Clipper	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
Quadravision^[40]	Ford Motor Company	1959	Design for Suburban Living showtent	? mm x 4 cameras	? x 4 negatives	spherical	? mm x 4 projectors	? (4 images in 2x2 configuration)	spherical
Techniscope^[41]	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)^[42]	Leon W. Wells	1960	Honeymoon	no standard	no standard	no standard	no standard	no standard	35 mm	2.50 with a 120° curved screen	0.931' x 0.698', with two half-images turned 90° and placed side-by-side	spherical x 2
Cine System 3^[43]^[44]	Eric Berndt	1960	USAF and NASA usage	3 mm	1 perf, centered	spherical
Grandeur 70^[45]	20th Century Fox	1961	The King and I (re-release)	55 mm	2.55	1.824' x 1.430'	8 perfs, 2 sides	2x anamorphic	70 mm	2.21	1.912' x 0.87'	spherical
Cinerama 360^[42]	Cinerama Corporation	1962	Journey to the Stars	65 mm	1.00 (circle)	2.25' diameter circular image	10 perf, 2 sides	fisheye	70 mm	1.00 (circle)	2.25' diameter circular image	spherical
Super 8	Eastman Kodak	1965	unknown (amateur format)	8 mm	1.48	0.245' x 0.166'	1 perf, 1 side	spherical	8 mm	1.36	0.215' x 0.158'	spherical
Real Sound^{[citation needed]}	Kenner	1965	no standard	no standard	no standard	1 perf, 1 side	spherical	11.5 mm	1.33	0.172' x 0.129'	spherical
Double Super 8^{[citation needed]}	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
Single-8^[46]	Fujifilm	1966	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
Dimension 150^[47]	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^[38]	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
8.75 mm^[48]	Shanghai Film Projection Equipment Factory	1968	unknown (amateur format)	1 perf	spherical	8.75 mm	spherical
Astrovision^[49]	Goto Optical	1969	65 mm	10 perf, 2 sides	spherical or fish-eye	70 mm	fish-eye (dome projection)
IMAX^[50]	IMAX Corporation	1970	Tiger Child	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^[7]	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
Pik-a-Movie^[51]	Leon W. Wells	1972	no standard	no standard	no standard	no standard	no standard	70 mm, horizontal, 1 perf, 2 sides	1.48	0.245' x 0.166', 12 rows high, underneath 12 rows of optical sound	spherical
OMNIMAX^[52]	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)^[53]	Dynavision	1973?	65 mm	1.37	2.031' x 1.484'	8 perf, 2 sides, 24 or 30 frame/s	spherical	70 mm	1.34	1.913' x 1.431'	spherical
Showscan^[54]	Douglas Trumbull	1978	Night of Dreams	65 mm	2.28	2.066' x 0.906'	5 perfs, 2 sides, at 60 frame/s	spherical	70 mm, at 60 frame/s	2.21	1.912' x 0.87'	spherical
Polavision^[55]	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
Cinema 180^[56]	Omni Films	1979	Crazy Wheels	65 mm	2.28	2.066' x 0.906'	5 perfs, 2 sides, 30 frame/s	fisheye	70 mm	180°, on a dome	1.912' x 0.87'	fisheye
Super 35^[57]	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^[58]	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^[59]	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
Super Duper 8 / Max 8 / Super 8B^[60]^[61]	Mitch Perkins & Greg Miller	mid- 1980s	Sleep Always (2002)	8 mm	1.51	0.250' x 0.166'	1 perf, 1 side	spherical	8 mm	no standard	no standard	spherical
3-perf^[62]	Rune Ericson	1987	Pirates of the Lake	35 mm	1.79	0.980' x 0.546'	3 perf, 2 sides	spherical	35 mm	no standard	no standard	no standard
Super VistaVision^[63]	Paramount	1989	The Ten Commandments (re-release)	35 mm	1.51	1.495' x 0.991'	8 perf, 2 sides, horizontal	spherical	70 mm	2.21	1.912' x 0.87'	spherical
Kinoton HDFS^[64]	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^[65]	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^[66]	Iwerks	1991	65 mm	1.37	2.031' x 1.484'	8 perf, 2 sides, 24 or 30 frame/s	fisheye	70 mm	1.34	1.913' x 1.431'	fisheye
IMAX HD^[67]	IMAX Corporation	1992	Asteroid Adventure	70 mm	1.34	2.772' x 2.072'	15 perf, 2 sides, horizontally, 48 frame/s	spherical	70 mm, horizontal	1.31	2.692' x 2.056'	spherical
Hexiplex^[68]	(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^[56]	Mac McCarney	1992	35 mm x 3 cameras	1.37 x 3 negatives	0.866' x 0.630'	4 perf, 2 sides, at 30 frame/s	spherical	70 mm x 3 projectors, at 30 frame/s	360°	1.912' x 0.87'	spherical
Imagination FX 7012^[13]	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^[69]	Vittorio Storaro	1998	Tango	35 mm	2.00	0.945' x 0.472'	3 perf, 2 sides at 25 frame/s	spherical	35 mm	2.00	spherical
Maxivision^[70]	Dean Goodhill	1999	35 mm	1.79	0.980' x 0.546'	3 perf, 2 sides	spherical	35 mm, 3 perf	1.85	spherical
Maxivision 48^[70]	Dean Goodhill	1999	35 mm	1.79	0.980' x 0.546'	3 perf, 2 sides, 48 frame/s	spherical	35 mm, 3 perf, 48 frame/s	1.85	spherical
Super Dimension 70^[71]	Robert Weisgerber	1999	65 mm	2.28	2.066' x 0.906'	5 perfs, 2 sides, at 48 frame/s	spherical	70 mm, at 48 frame/s	2.21	1.912' x 0.87'	spherical
FuturVision 360^[49]	65 mm	1.52	2.066' x 0.906'	5 perfs, 2 sides, 30 frame/s	1.5x vertical anamorphic	70 mm	1.47	1.912' x 0.87'	1.5x vertical anamorphic
Mini-Max^[72]	Vistascope	35 mm	2.66	2 perf, 2 sides, 30 frame/s	spherical	35 mm	2.66	spherical
MotionMaster^[73]	Omni Films	65 mm	2.28	2.066' x 0.906'	5 perfs, 2 sides, 30 frame/s	spherical	70 mm	2.21, on a curved screen	1.912' x 0.87'	spherical
Row-film^[74]	R. Thun	35 mm	20 rows of images wide	spherical	spherical
Septorama^[49]	? mm x 7 cameras	1.33 x 7 negatives	spherical	? mm x 7 projectors	hemispherical view	spherical
Single Cinerama^[75]	Fred Waller	35 mm	curved gate	16 perf, 2 sides, horizontal	spherical	35 mm, horizontal	curved screen	spherical
Soviet 10^[76]	65 mm	10 perf, 2 sides	2x anamorphic	70 mm	2.09	1.890' x 1.811'	2x anamorphic
Vario-35^[76]	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^[76]	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^[76]	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	Est.	First known work	Negative gauge	Negative A/R^[1]	Gate dims	Negative pulldown	Negative lenses	Projection gauge	Projection A/R^[1]	Projection dims	Projection lenses

Notes[edit]

^ ^a^b^c^d^e^fStrictly 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.
^Burns, R.W., Television: An International History of the Formative Years, p. 71, Institution of Electrical Engineers, 1991.
^Scott, E. Kilburn, 'The Career of L. A .A. Le Prince', Adventures in Cybersound. Retrieved 2008-05-17.
^Hiller, John. 'Film History for the Public: The First National Movie Machine Collection', Film History, v. 11, n. 3, p. 373. Indiana University Press, 1999.
^ ^a^bSherlock, p. 3.
^ ^a^b^cSherlock, p. 40.
^ ^a^bHummel, p. 16.
^Sherlock, p. 5-6.
^ ^a^bSherlock, p. 4.
^ ^a^bSherlock, p. 5.
^ ^a^bSherlock, p. 6.
^Sherlock, p. 6-7.
^ ^a^bSherlock, p. 59.
^ ^a^b^cHummel, p. 10.
^Hart, Cinerama Specs.
^Hart, CinemaScope Specs and Of Apertures and Aspect Ratios.
^Hart, Ultra Panavision, p. 1.
^ ^a^bHart, VistaVision Specs.
^Sherlock, p. 27.
^ ^a^bHart, SuperScope Specs.
^Sherlock, p. 19-20.
^ ^a^bEven 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, Todd A.O. Specs.
^Hart, CinemaScope Specs.
^Patrice-Hervé Pont, Jean Loup Princelle: 50 Ans de Caméras Françaises, Le Reve Édition, Ondrevill sur Essone, France, 2007, ISBN2-9522521-3-0, --> page num 107
^Patrice-Hervé Pont, Jean Loup Princelle: 50 Ans de Caméras Françaises, Le Reve Édition, Ondrevill sur Essone, France, 2007, ISBN2-9522521-3-0, --> page num 51
^Patrice-Hervé Pont, Jean Loup Princelle: 50 Ans de Caméras Françaises, Le Reve Édition, Ondrevill sur Essone, France, 2007, ISBN2-9522521-3-0, --> page num 59
^ ^a^b^cHart, Technirama Specs.
^Sherlock, p. 58.
^Hart, Thrillarama
^Hart, Ultra Panavision Specs.
^Sherlock, p. 31.
^Hummel, p. 13.
^Sherlock, p. 11-12.
^Hummel, p. 17.
^Hart, Cinemiracle Specs.
^Hart, The Smith-Carney System.
^ ^a^bSherlock, p. 19.
^Fromm, Gerhard. 'The Work of Jan Jacobsen', .in 70 mm: The 70 mm Newsletter, Issue 57 (June 1999). Retrieved 2008-12-01.
^Nilsen, Sarah Dawn. Projecting America: Films at the Brussels World's Fair of 1958, p. 96. University of Southern California Press, 2000.
^Hart, Techniscope Specs.
^ ^a^bSherlock, p. 18.
^Nystrom
^'Film Gauges'. Preservation Glossary. National Film and Sound Archive. Archived from the original on 2009-02-21.
^Hart, CinemaScope, p. 6.
^'Viewpoint Japan', The British Journal of Photography, December 3, 1965, p. 1050.
^Sherlock, p. 17-18.
^Clark, Paul. The Chinese Cultural Revolution: A History, p. 146. Cambridge: Cambridge University Press, 2008.
^ ^a^b^cSherlock, p. 37.
^Hummel, p. 18.
^'Pik-A-Movie', British Kinematography Sound and Television, August 1973. Retrieved 2008-07-07.
^Hummel, p. 18-19.
^Hummel, p. 19.
^Sherlock, p. 39
^Giambarba, Paul. The Branding of Polaroid 1957–1977, Chapter 18, 2004-09-01. Retrieved 2008-07-07.
^ ^a^bAridi, Sal (July–December 2000). 'Large Format Cinematography'. Operating Cameraman. Archived from the original on 2008-06-29.CS1 maint: Date format (link)
^Hummel, p. 11.
^Sherlock, p. 20
^Piccolin, Lukas. 'All-Around Cinema', in70mm.com, 2004-10-01. Retrieved 2008-07-07.
^Vigeant, Phil. Technical schematic drawings of Max8 format, Pro8mm, 2005-11-09.
^www.jelve.com. 'Sleep Always lift article'. www.friendlyfirefilms.com.
^Hummel, p. 20.
^'Upcoming Re-release of Vertigo', Los Angeles Times, 1996-06-16. Retrieved 2008-07-07.
^Lobban, Grant. 'Widescreen and 3D Formats Wallchart', BKSTS. [year unknown]
^Schwartzberg, Schlomo. 'IMAX: Oscar nominated Canadian company on the leading edge of technology'Archived 2009-02-15 at the Wayback Machine, Performing Arts and Entertainment in Canada, Spring 1993. Retrieved 2008-07-07.
^Katz, Stephen Douglas. Film Directing Shot by Shot: Visualizing from Concept to Screen, p. 330. Michael Wiese Productions, 1991.
^Naimark, 'Giant Rectangular Screens'.
^Naimark, 'Cylindrical Screens'.
^Storaro, Vittorio. Storaro's notes on Univision, date unknown. Retrieved on 2006-12-01.
^ ^a^bHindes, Andrew. Sticking with 35mm, Variety, 1999-04-19. Retrieved 2008-05-16.
^Weisgerber, Robert. Super Dimension 70: New 70 mm Process Demonstrated, in70mm.com, Issue 63 (March 2001). Retrieved 2008-05-17.
^Lobban, Grant. 'Film Gauges and Soundtracks Wallchart', BKSTS. [year unknown]
^Motion Master^{[dead link]}, Screen Digest, October 1, 1995. Retrieved 2008-05-17.
^Nystrom, sidebar.
^Kimble, Greg. 'This Is Cinerama!': Cinerama's 50th Anniversary, part 4Archived 2008-04-01 at the Wayback Machine, in70mm.com, 2002-06-10. Retrieved 2008-05-16.
^ ^a^b^c^dSherlock, p. 58

References[edit]

Carr, Robert E. and Hayes, R. M., Wide Screen Movies. A History and Filmography of Wide Gauge Filmmaking. Mc Farland & Company, 1988.
Hart, Martin. American Widescreen Museum, 1996–2008. Retrieved on 2008-05-16.
Herbert, Stephen and Luke McKernan, eds. 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. Expo '92 Seville, Presence, Vol. 1, No. 3. MIT Press, Summer 1992. Retrieved on 2006-12-01.
Nystrom, J.E. History of sub-35mm Film Formats and Cameras, 1998–2001. Retrieved on 2006-12-01.
Sherlock, Daniel J. 'Wide Screen Movies' Corrections, 1994–2004. Retrieved on 2006-12-01.