Film Formats
- The table does not cover 3D 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 | Gate dims | Negative pulldown | Negative lenses | Projection gauge | Projection A/R | Projection dims | Projection lenses |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Chronophotographe | Étienne-Jules Marey | 1888 | motion analysis studies | 90 mm | 1.00 | 3.543" x 3.543" | unperforated | spherical |
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| Paperfilm | Louis Le Prince | 1888 | Roundhay Garden Scene | 54 mm or 63.5 mm | 1.00 | perforated | spherical | 54 mm or 63.5 mm | 1.00 | spherical
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| Théâtre Optique | Émile Reynaud | 1888 | Pauvre Pierrot | perforated | spherical | spherical
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| Chronophotographic | Wm. Friese-Greene | 1889 | 54 mm | irregular perfs | spherical |
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| Kinesigraph | Wordsworth Donisthorpe | 1889 | view of Trafalgar Square | 68 mm | 1.00? | unperforated | spherical |
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| Kinetoscope cylinder | Wm. Dickson & T. Edison | 1889 or 1890 | Monkeyshines, No. 1 | strip rolled around a cylinder | unperforated | spherical | strip rolled around a cylinder | spherical
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| Kinetoscope horizontal | Wm. Dickson & William Heise | 1891 | Dickson Greeting | 19 mm | 1 perf, 1 side, horizontal | spherical | 19 mm, horizontal | spherical
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| 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
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| Bioskop | Max Skladanowsky | 1892 | footage of Emil Skladanowsky | 54 mm | unperforated (camera); 4 perf, 2 sides (projection) | spherical | 54 mm (two strips interleaved) | spherical
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| Acres 70 | Birt Acres | 1894 | The Henley Royal Regatta of 1894 | 70 mm | 1.38 | 2.750" x 2.000" | spherical | 70 mm | spherical
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| 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
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| 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
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| 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
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| Joly-Normandin | Henri Joly | 1895 | 60 mm | 5 perf, 2 sides | spherical | 60 mm | spherical
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| Biographe | Demeny-Gaumont | 1896 | 60 mm | 1.40 | 1.750" x. 1.250" | unperforated | spherical | 60 mm | 1.40 | spherical
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| Chronophotographe | Demeny-Gaumont | 1896 | 60 mm | 1.40 | 1.750" x. 1.250" | 4 perf, 2 sides | spherical | 60 mm | 1.40 | spherical
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| Sivan-Dalphin | Casimir Sivan and E. Dalphin | 1896 | 38 mm | 2 perf, 2 sides | spherical | 38 mm | spherical
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| Veriscope | Enoch Rector | 1897 | Corbett-Fitzsimmons fight | 63 mm | 1.66 | 1.875" x 1.125" | 5 perf, 2 sides | spherical | 63 mm | spherical
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| Viventoscope | Thomas Henry Blair | 1897 | 48 mm | 1.50 | 1.500" x 1.000" | 1 perf? | spherical | 48 mm | spherical
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| Birtac | Birt Acres | 1898 | unknown (amateur format) | 17.5 mm | 2 perf, 1 side | spherical | 17.5 mm | spherical
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| Biokam | T. C. Hepworth | 1899 | unknown (amateur format) | 17.5 mm | 1.60 | 0.630" x 0.394" | 1 perf, center | spherical | 17.5 mm | spherical
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| Prestwich 13 mm | John Alfred Prestwich | 1899 | unknown (amateur format) | 13 mm | spherical | 13 mm | spherical
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| Mirograph | Reulos, Goudeau & Co | 1900 | unknown (amateur format) | 21 mm | 1 notch, 2 sides | spherical | 21 mm | spherical
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| Lumiere Wide | Lumière Brothers | 1900 | 75 mm | 1.33 | 2.362" x 1.772" | 8 perf, 2 sides | spherical | 75 mm | 1.33 | spherical
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| Cinéorama | R. Grimoin-Sanson | 1900 | Cinéorama | 70 mm x 10 cameras (360°) | 4 perf? | spherical | 70 mm x 10 projectors (360°) | spherical
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| 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
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| Pocket Chrono | Gaumont Demeny | 1900 | unknown (amateur format) | 15 mm | 1 perf, center | spherical | 15 mm | spherical
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| Vitak | William Wardell | 1902 | unknown (amateur format) | no standard | no standard | no standard | 1 perf, center | spherical | 11 mm | spherical
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| Home Kinetoscope | Edison | 1912 | unknown (amateur format) | no standard | no standard | no standard | no standard | spherical | 22 mm, 2 perf (on frameline between frame rows) | 1.5 | 0.236" x 0.157" (three frames across width) | spherical
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| 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
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| Duoscope | Alexander F. Victor | 1912 | unknown (amateur format) | 17.5 mm | 2 perfs, center | spherical | 17.5 mm | spherical
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| Panoramico | Filoteo Alberini | 1914 | Il sacco di Roma | 70 mm | 2.52 | 5 perf, 2 sides | spherical | 70 mm | spherical
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| Split Duplex | Duplex Corporation | 1915 | 35 mm | 1.33 | 0.980" x 0.735" | 4 perf, 2 sides (shooting) | spherical | 35 mm | 1.87 | 0.735" x 0.394" | spherical (split image 90° rotated)
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| 11 mm | (American) | 1916 | unknown (amateur format) | 11 mm | 1 perf, center | spherical | 11 mm | spherical
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| Movette | Movette Camera Company | 1917 | unknown (amateur format) | 17.5 mm | 2 perfs, 2 sides (rounded) | spherical | 17.5 mm | spherical
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| 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
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| Clou | (Austrian) | 1920 | unknown (amateur format) | 17.5 mm | 2 perf, 2 sides | spherical | 17.5 mm | spherical
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| 26 mm | (French) | 1920 | unknown (amateur format) | 26 mm | 1 perf, 1 side | spherical | 26 mm | spherical
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| 9.5 mm | Pathé | 1922 | unknown (amateur format) | 9.5 mm | 1.31 | 0.335" x 0.256" | 1 perf, center | spherical | 9.5 mm | 1.31 | 0.315" x 0.242" | spherical
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| 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
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| Widescope | 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
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| Cinebloc | Ozaphan | 1922 | unknown (amateur format) | 22 mm | 2 perf, 2 sides | spherical | 22 mm | spherical
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| Tri-Ergon soundfilm | Tri-Ergon | 1922 | 35 mm | 1.33 | 0.980" x 0.735" | 4 perf, 2 sides | spherical | 42 mm | 1.33 | 0.931" x 0.698" | spherical
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| 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
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| Duplex | G.J. Bradley | 1923 | unknown (amateur format) | 11 mm | 2 perf, 2 sides (rounded) | spherical | 11.5 mm | spherical
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| Alberini-Hill | Corrado Cerqua | 1924 | 35 mm | 1.66 | 1.575" x 0.945" (curved) | 10 perf, 2 sides, horizontal | spherical, on 65° revolving drum | 35 mm | spherical
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| Cinelux | Ozaphan | 1924 | unknown (amateur format) | 24 mm | spherical | 24 mm | spherical
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| 48 mm | J.H. Powrie | 1924 | 48 mm | 1.32 | 1.969" x 1.496" | horizontal | spherical | 35 mm | 1.33 | 0.931" x 0.698" | spherical
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| Natural Vision | 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
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| 13 mm | (French) | 1925 | unknown (amateur format) | 13 mm | 4 perf, center | spherical | 13 mm | spherical
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| 18 mm | (Russian) | 1925 | unknown (amateur format) | 18 mm | 1 perf, 2 sides | spherical | 18 mm | spherical
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| Pathe Rural | Pathé | 1926 | unknown (amateur format) | 17.5 mm | 1.35 (silent); 1.30 (sound) | 0.516" 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
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| Widevision | John D. Elms & George W. Bingham | 1926 | Natural Vision Pictures | 57 mm | 5 perf, 2 sides | spherical | 57 mm | spherical
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| 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)
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| Fox Movietone | 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
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| 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
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| 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
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| 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
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| Fox Grandeur | Fox Film Corporation | 1929 | Fox Grandeur News and Fox Movietone Follies of 1929 | 70 mm | 2.07 | 1.890" x 0.913" | 4 perf, 2 sides, 20 frame/s (before 1930) | spherical | 70 mm | 2.00 | 1.768" x 0.885" | spherical
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| 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
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| 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
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| 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
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| 50 mm | 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
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| 17 mm sound | (French) | 1930 | unknown (amateur format) | 17 mm | 1 perf, 1 side | spherical | 17 mm | spherical
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| Giant Expanding Pictures | George Palmer | 1930 | 35 mm | 1.33 | 0.980" 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)
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| Kodel Kemco Homovie | Clarence Ogden | 1931 | unknown (amateur format) | 16 mm | 4 sequential images per frame | 1 perf, 2 sides | spherical | 16 mm | spherical
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| Academy 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
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| 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
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| 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
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| 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
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| 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
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| Cinerama | 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
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| 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
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| 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
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| 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
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| Cinemascope | 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
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| Arnoldscope | John Arnold | 1953 | 35 mm | 10 perf, 2 sides, horizontal | spherical |
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| 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
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| VistaVision Large Area | 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
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| 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
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| 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
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| Todd-A.O. | 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
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| 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
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| 9.5 Duplex | 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°
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| 8 mm Panoramic | Dimaphot, Paris | 1955 | ? | 16 mm | 1.5 | 5 mm x 7.5 mm | 1 perf, 2 sides | spherical | 8 mm | spherical, rotated 90°
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| Emel Panoscope | Emel, Paris | 1955 | ? | 16 mm | 2.7 | 3.5 mm x 9.6 mm | 2 perf, 2 sides | spherical | 16 mm | spherical
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| 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
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| 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
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| 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
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| 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
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| 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
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| Magirama | 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
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| 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
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| Ultra Panavision | 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
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| 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
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| 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
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| Modern anamorphic | 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
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| 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 frame/s | spherical | 35 mm x 3 projectors | 2.72 | 0.985" x 1.088" | spherical
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| 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
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| Cinemiracle | 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
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| 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
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| 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
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| 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
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| Varioscope | 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
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| Quadravision | 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
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| 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
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| 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
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| Cine System 3 | Eric Berndt | 1960 | USAF and NASA usage | 3 mm | 1 perf, centered | spherical |
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| 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
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| Cinerama 360 | Cinerama Corporation | 1962 | Journey to the Stars | 65 mm | 1.00 (circle) | 2.25" diameter circular image | 10 perf, 2 sides | fisheye | 70 mm | 1.00 (circle) | 2.25" diameter circular image | spherical
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| 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
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| 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
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| 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
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| Single-8 | 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
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| 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
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| 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
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| 8.75 mm | Shanghai Film Projection Equipment Factory | 1968 | unknown (amateur format) | 1 perf | spherical | 8.75 mm | spherical
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| Astrovision | Goto Optical | 1969 | 65 mm | 10 perf, 2 sides | spherical or fish-eye | 70 mm | fish-eye (dome projection)
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| 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
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| 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
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| 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
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| 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
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| 8/70 (Dynavision, Iwerks 870) | 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
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| Showscan | 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
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| 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
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| Cinema 180 | 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
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| 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
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| 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
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| 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
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| Super Duper 8 / Max 8 / Super 8B | 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
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| 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
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| 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
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| 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
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| 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
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| Iwerksphere | 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
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| IMAX HD | 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
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| 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
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| 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 frame/s | spherical | 70 mm x 3 projectors, at 30 frame/s | 360° | 1.912" x 0.87" | spherical
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| 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
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| Univisium | 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
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| 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
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| Maxivision 48 | 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
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| Super Dimension 70 | 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
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| FuturVision 360 | 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
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| Mini-Max | Vistascope | 35 mm | 2.66 | 2 perf, 2 sides, 30 frame/s | spherical | 35 mm | 2.66 | spherical
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| MotionMaster | 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
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| Row-film | R. Thun | 35 mm | 20 rows of images wide | spherical | spherical
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| Septorama | ? mm x 7 cameras | 1.33 x 7 negatives | spherical | ? mm x 7 projectors | hemispherical view | spherical
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| Single Cinerama | Fred Waller | 35 mm | curved gate | 16 perf, 2 sides, horizontal | spherical | 35 mm, horizontal | curved screen | spherical
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| Soviet 10 | 65 mm | 10 perf, 2 sides | 2x anamorphic | 70 mm | 2.09 | 1.890" x 1.811" | 2x anamorphic
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| 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
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| 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)
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| 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
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| Format | Creator | Est. | First known work | Negative gauge | Negative A/R | Gate dims | Negative pulldown | Negative lenses | Projection gauge | Proj. A/R | Projection dims | Projection lenses |
Read more about this topic: List Of Film Formats
Famous quotes containing the word film:
“The woman’s world ... is shown as a series of limited spaces, with the woman struggling to get free of them. The struggle is what the film is about; what is struggled against is the limited space itself. Consequently, to make its point, the film has to deny itself and suggest it was the struggle that was wrong, not the space.”
—Jeanine Basinger (b. 1936)