#000FFF

Camera: 90 mm / 1.00 / 3.543" × 3.543" / unperforated / spherical

Projection: — / — / — / —

First work: motion analysis studies

The archive describes unperforated 90, 60 and 35 mm Marey strips. Camera studies are not asserted to have a theatrical projection standard.

Camera: 65 mm / 1.00 / — / unperforated / spherical

Projection: not known / 1.00 / — / spherical

First work: Roundhay Garden Scene

Camera: 65 mm / 1.00 / — / pin wheel perforation / spherical

Projection: — / — / — / —

First work: Hyde Park Corner & Marble Arch

Camera: strip rolled around a cylinder / — / — / unperforated / spherical

Projection: — / — / — / spherical

First work: Monkeyshines, No. 1

Camera: 70 mm / 1.00 / — / unperforated / spherical

Projection: — / — / — / —

First work: view of Trafalgar Square

Camera: 60 mm / 1.325 / — / 8 round perfs, 2 sides / spherical

Projection: — / — / — / —

First work: King’s Road, Chelsea, London

Camera: 19 mm / — / — / 6 perf, 1 side, horizontal / spherical

Projection: — / — / — / spherical

First work: Dickson Greeting

Camera: 35 mm / 1.33 / 0.980" × 0.735" / 4 perf, 2 sides / spherical

Projection: 35 mm / 1.33 / 0.931" × 0.698" / spherical

First work: Blacksmith Scene

Camera: 54 mm / — / — / unperforated (camera); 4 perf, 2 sides (projection) / spherical

Projection: 54 mm (two strips interleaved) / — / — / spherical

First work: footage of Emil Skladanowsky

Camera: 51 mm / 1.85 / 1.457" × 0.787" / 4 perf, 2 sides / spherical

Projection: 51 mm / 1.85 / — / spherical

First work: Griffo-Barnett Prize Fight

Camera: 35 mm / 1.33 / 0.980" × 0.735" / 1 perf, 2 sides (rounded) / spherical

Projection: 35 mm / 1.33 / — / spherical

First work: La Sortie des Usines Lumiere

Camera: 68 mm / 1.35 / 2.625" × 1.938" / 1 perf, 2 sides (punched in-camera) / spherical

Projection: 68 mm / — / — / spherical

First work: Sparring Contest at Canastota

Camera: 60 mm / — / — / 5 perf, 2 sides / spherical

Projection: 60 mm / — / — / spherical

Camera: 60 mm / 1.40 / 1.750" × 1.250" / unperforated / spherical

Projection: 60 mm / 1.40 / — / spherical

Camera: 60 mm / 1.40 / 1.750" × 1.250" / 4 perf, 2 sides / spherical

Projection: 60 mm / 1.40 / — / spherical

Camera: 38 mm / — / — / 2 perf, 2 sides / spherical

Projection: 38 mm / — / — / spherical

Camera: 63 mm / 1.66 / 1.875" × 1.125" / 5 perf, 2 sides / spherical

Projection: 63 mm / — / — / spherical

First work: The Corbett-Fitzsimmons Fight

Camera: 48 mm / 1.50 / 1.500" × 1.000" / 1 perf? / spherical

Projection: 48 mm / — / — / spherical

Camera: 17.5 mm / — / — / 2 perf, 1 side / spherical

Projection: 17.5 mm / — / — / spherical

First work: unknown (amateur format)

Camera: 17.5 mm / 1.60 / 0.630" × 0.394" / 1 perf, center / spherical

Projection: 17.5 mm / — / — / spherical

First work: unknown (amateur format)

Camera: 13 mm / — / — / — / spherical

Projection: 13 mm / — / — / spherical

First work: unknown (amateur format)

Camera: 21 mm / — / — / 1 notch, 2 sides / spherical

Projection: 21 mm / — / — / spherical

First work: unknown (amateur format)

Camera: 75 mm / 1.33 / 2.362" × 1.772" / 8 perf, 2 sides / spherical

Projection: 75 mm / 1.33 / — / spherical

Camera: 70 mm × 10 cameras (360°) / — / — / 4 perf? / spherical

Projection: 70 mm × 10 projectors (360°) / — / — / spherical

First work: Cinéorama

Camera: 17.5 mm / 1.60 / 0.630" × 0.394" / 1 perf, center (smaller and less rectangular than Biokam) / spherical

Projection: 17.5 mm / — / — / spherical

First work: unknown (amateur format)

Camera: 15 mm / — / — / 1 perf, center / spherical

Projection: 15 mm / — / — / spherical

First work: unknown (amateur format)

Camera: no standard / no standard / no standard / 1 perf, center / spherical

Projection: 11 mm / — / — / spherical

First work: unknown (amateur format)

Camera: no standard / no standard / no standard / no standard / spherical

Projection: 22 mm, 2 perf (on frameline between frame rows) / 1.5 / 0.236" × 0.157" (three frames across width) / spherical

First work: unknown (amateur format)

Camera: 28 mm / 1.36 / 0.748" × 0.551" / 3 perf on one side, 1 perf on the other / spherical

Projection: 28 mm / — / — / spherical

First work: unknown (amateur format)

Camera: 17.5 mm / — / — / 2 perfs, center / spherical

Projection: 17.5 mm / — / — / spherical

First work: unknown (amateur format)

Camera: 70 mm / 2.52 / — / 5 perf, 2 sides / spherical

Projection: 70 mm / — / — / spherical

First work: Il sacco di Roma

Camera: 35 mm / 1.33 / 0.980" × 0.735" / 4 perf, 2 sides (shooting) / spherical

Projection: 35 mm / 1.87 / 0.735" × 0.394" / spherical (split image 90° rotated)

Camera: 11 mm / — / — / 1 perf, center / spherical

Projection: 11 mm / — / — / spherical

First work: unknown (amateur format)

Camera: 17.5 mm / — / — / 2 perfs, 2 sides (rounded) / spherical

Projection: 17.5 mm / — / — / spherical

First work: unknown (amateur format)

Camera: 28 mm / 1.36 / 0.748" × 0.551" / 3 perf, 2 sides / spherical

Projection: 28 mm / — / — / spherical

First work: unknown (amateur format)

Camera: 17.5 mm / — / — / 2 perf, 2 sides / spherical

Projection: 17.5 mm / — / — / spherical

First work: unknown (amateur format)

Camera: 26 mm / — / — / 1 perf, 1 side / spherical

Projection: 26 mm / — / — / spherical

First work: unknown (amateur format)

Camera: 9.5 mm / 1.31 / 0.335" × 0.256" / 1 perf, center / spherical

Projection: 9.5 mm / 1.31 / 0.315" × 0.242" / spherical

First work: unknown (amateur format)

Camera: 35 mm / 1.33 / 0.980" × 0.735" / 4 perf, 2 sides / spherical

Projection: 35 mm / 1.17 / 0.826" × 0.708" / spherical

First work: Barking Dog and Flying Jenny Airplane

Camera: 35 mm × 2 (both in same camera) / 1.33 × 2 negatives / 0.980" × 0.735" / 4 perf, 2 sides / spherical (one lens per strip)

Projection: 35 mm × 2 projectors / 2.66 / 0.931" × 0.698" / spherical

Camera: 22 mm / — / — / 2 perf, 2 sides / spherical

Projection: 22 mm / — / — / spherical

First work: unknown (amateur format)

Camera: 35 mm / 1.33 / 0.980" × 0.735" / 4 perf, 2 sides / spherical

Projection: 42 mm / 1.33 / 0.931" × 0.698" / spherical

Camera: 16 mm / 1.37 / 0.404" × 0.295" / 1 perf, 1 or 2 sides / spherical

Projection: 16 mm / 1.37 / 0.378" × 0.276" / spherical

First work: unknown (amateur format)

Camera: 11 mm / — / — / 2 perf, 2 sides (rounded) / spherical

Projection: 11.5 mm / — / — / spherical

First work: unknown (amateur format)

Camera: 35 mm / 1.66 / 1.575" × 0.945" (curved) / 10 perf, 2 sides, horizontal / spherical, on 65° revolving drum

Projection: 35 mm / — / — / spherical

Camera: 24 mm / — / — / — / spherical

Projection: 24 mm / — / — / spherical

First work: unknown (amateur format)

Camera: 48 mm / 1.32 / 1.969" × 1.496" / horizontal / spherical

Projection: 35 mm / 1.33 / 0.931" × 0.698" / spherical

Camera: 63.5 mm / 1.84 / 2.060" × 1.120" / 6 perf, 2 sides, 20 frame/s / spherical

Projection: 63.5 mm / 2.00 / — / spherical

First work: Niagara Falls and Rollercoaster Ride

Camera: 13 mm / — / — / 4 perf, center / spherical

Projection: 13 mm / — / — / spherical

First work: unknown (amateur format)

Camera: 18 mm / — / — / 1 perf, 2 sides / spherical

Projection: 18 mm / — / — / spherical

First work: unknown (amateur format)

Camera: 17.5 mm / 1.35 (silent); 1.30 (sound) / 0.516" × 0.382" (silent); 0.445" × 0.343" (sound) / 1 perf, 2 sides / spherical

Projection: 17.5 mm / 1.33 (silent); 1.26 (sound) / 0.472" × 0.354" (silent); 0.445" × 0.343" (sound) / spherical

First work: unknown (amateur format)

Camera: 57 mm / — / — / 5 perf, 2 sides / spherical

Projection: 57 mm / — / — / spherical

First work: Natural Vision Pictures

Camera: 35 mm / 1.33 / 0.980" × 0.735" / 4 perf, 2 sides / spherical

Projection: 35 mm / 1.33 / 0.931" × 0.698" / spherical (selected scenes projected using a wider lens for larger picture)

First work: Old Ironsides

Camera: 35 mm / 1.33 / 0.980" × 0.735" / 4 perf, 2 sides / spherical

Projection: 35 mm / 1.17 / 0.826" × 0.708" / spherical

First work: Sunrise: A Song of Two Humans

Camera: 35 mm × 3 cameras / 1.33 × 3 negatives / 0.980" × 0.735" / 4 perf, 2 sides / spherical

Projection: 35 mm × 3 projectors / 4.00 / 0.931" × 0.698" / spherical

First work: Napoléon

Camera: 35 mm / 2.66 / 0.980" × 0.735" / 4 perf, 2 sides / 2× anamorphic

Projection: 35 mm / 2.66 / 0.931" × 0.698" / 2× anamorphic

First work: Pour construire un feu

Camera: 56 mm / 2.19 / 1.620" × 0.740" / 4 perf, 2 sides / spherical

Projection: 56 mm / 2.00 / — / spherical

First work: You’re in the Army Now

Camera: 70 mm / 2.07 / 1.890" × 0.913" / 4 perf, 2 sides, 20 frame/s (before 1930) / spherical

Projection: 70 mm / 2.00 / 1.768" × 0.885" / spherical

First work: Fox Grandeur News and Fox Movietone Follies of 1929

Camera: 35 mm / 2.27 / 1.813" × 0.800" / 10 perfs, 2 sides, horizontal / spherical

Projection: 35 mm, horizontal / — / — / spherical

Camera: 65 mm / 2.00 / 1.811" × 0.906" / 5 perf, 2 sides / spherical

Projection: 65 mm / 2.05 / 1.772" × 0.866" / spherical

First work: Kismet

Camera: 70 mm / 2.07 / 1.890" × 0.913" / 4 perf, 2 sides / spherical

Projection: 35 mm / 1.75 / 0.904" × 0.517" / spherical

First work: Billy the Kid

Camera: 50 mm / 1.80 / 1.325" × 0.735" / — / spherical

Projection: 50 mm / 1.80 / 1.305" × 0.725" / spherical

Camera: 17 mm / — / — / 1 perf, 1 side / spherical

Projection: 17 mm / — / — / spherical

First work: unknown (amateur format)

Camera: 35 mm / 1.33 / 0.980" × 0.735" / 4 perf, 2 sides / spherical

Projection: 35 mm / 1.17 / 0.826" × 0.708" / spherical (with a special projection zoom lens zooming wider and opening masking for key sequences)

Camera: 16 mm / — / 4 sequential images per frame / 1 perf, 2 sides / spherical

Projection: 16 mm / — / — / spherical

First work: unknown (amateur format)

Camera: 35 mm / 1.375 (commonly abbreviated to 1.37) / 0.868″ × 0.631″ / 4 perf, 2 sides / spherical

Projection: 35 mm / 1.37 / 0.825″ × 0.600″ / spherical

The reference labels this 1.37. Its spherical projection aperture, 0.825 by 0.600 inches, gives exactly 11:8 (1.375), matching the original prototype. Nominal labels and aperture-derived values remain distinct.

Camera: 16 mm / 1.32 / 0.192" × 0.145" / 1 perf, 1 side (using 16 mm film with twice as many perfs) / spherical

Projection: 8 mm / 1.33 / 0.172" × 0.129" / spherical

First work: unknown (amateur format)

Camera: 8 mm / 1.32 / 0.192" × 0.145" / 1 perf, 1 side / spherical

Projection: 8 mm / 1.33 / 0.172" × 0.129" / spherical

First work: unknown (amateur format)

Camera: 16 mm × 11 cameras / 1.37 × 11 negatives / 0.404" × 0.295" / 1 perf, 2 sides / spherical

Projection: 16 mm × 11 projectors / hemispherical view / 0.378" × 0.276" / spherical

Camera: 35 mm × 5 cameras / 1.37 × 5 negatives / 0.866" × 0.630" / 4 perf, 2 sides / spherical

Projection: 35 mm × 5 projectors / hemispherical view / 0.825" × 0.602" / spherical

First work: US Air Force interactive training exercise

Camera: 35 mm × 3 cameras / 2.59 (3 × negatives) / 0.996" × 1.116" / 6 perf, 2 sides at 26 frame/s / spherical

Projection: 35 mm × 3 projectors, with 6 perf pulldown / 2.59, with 146° curved screen / 0.985" × 1.088" / spherical

First work: This Is Cinerama

The rectangle is an unwrapped diagram of a curved screen; the documented viewing angle remains in the technical fields.

Camera: 35 mm / 1.37 / 0.866" × 0.630" / 4 perf, 2 sides / spherical

Projection: 35 mm / 1.66 / 0.825" × 0.497" / spherical

First work: Shane

Camera: 35 mm / 1.37 / 0.866" × 0.630" / 4 perf, 2 sides / spherical

Projection: 35 mm / 1.85 / 0.825" × 0.446" / spherical

First work: Thunder Bay

Camera: 35 mm / 1.37 / 0.866" × 0.630" / 4 perf, 2 sides / spherical

Projection: 35 mm / 1.75 / 0.825" × 0.471" / spherical

First work: Arena

Camera: 35 mm / 2.55 (1953–57); 2.35 (1957–67) / 0.937" × 0.735" (1953–57); 0.868" × 0.735" (1957–67) / 4 perf, 2 sides / 2× anamorphic

Projection: 35 mm / 2.55 (1953–57); 2.35 (1957–67) / 0.912" × 0.715" (1953–57); 0.839" × 0.715" (1957–67) / 2× anamorphic

First work: The Robe

Fox’s December 1953 booklet documents the change from the 2.66 demonstration to the 2.55 magnetic-sound presentation.

Camera: 35 mm / — / — / 10 perf, 2 sides, horizontal / spherical

Projection: — / — / — / —

Camera: 35 mm / 1.51 / 1.495" × 0.991" / 8 perf, 2 sides, horizontal / spherical

Projection: 35 mm, 4 perf, vertical / 1.85 / 0.825" × 0.446" / spherical

First work: White Christmas

Loren L. Ryder’s Paramount brochure permits 1.33:1 through 2:1, preferring about 1.85:1. The 1.51 negative aperture is not the preferred screen ratio.

Camera: 35 mm / 1.51 / 1.495" × 0.991" / 8 perf, 2 sides, horizontal / spherical

Projection: 35 mm, 8 perf, horizontal / 1.96 / 1.418" × 0.723" / spherical

First work: White Christmas

Camera: 35 mm / 1.33 / 0.980" × 0.735" / 4 perf, 2 sides / spherical

Projection: 35 mm / 2.00 / 0.715" × 0.715" / 2× anamorphic

First work: Vera Cruz

Camera: 16 mm × 11 cameras / 1.37 × 11 negatives / 0.404" × 0.295" / 1 perf, 2 sides / spherical

Projection: 16 mm × 11 projectors / 360° / 0.378" × 0.276" / spherical

First work: A Tour of the West

Camera: 65 mm / 2.29 / 2.072" × 0.906" / 5 perfs, 2 sides, at 30 frame/s / spherical

Projection: 70 mm / 2.21, with 120° curved screen / 1.912" × 0.870" / spherical

First work: Oklahoma

Camera: 55 mm / 2.55 / 1.824" × 1.430" / 8 perfs, 2 sides / 2× anamorphic

Projection: 35 mm / 2.55 / 0.912" × 0.715" / 2× anamorphic

First work: Carousel

Camera: 9.5 mm / 1.51 / 4.1 mm × 6.2 mm / 2 central perforations in a 9.5mm film / spherical

Projection: 4.75 mm / — / — / spherical, rotated 90°

First work: ?

Camera: 16 mm / 1.5 / 5 mm × 7.5 mm / 1 perf, 2 sides / spherical

Projection: 8 mm / — / — / spherical, rotated 90°

First work: ?

Camera: 16 mm / 2.7 / 3.5 mm × 9.6 mm / 2 perf, 2 sides / spherical

Projection: 16 mm / — / — / spherical

First work: ?

Camera: 35 mm / 2.26 / 1.496" × 0.992" / 8 perf, 2 sides, horizontally / 1.5× anamorphic

Projection: 35 mm, 4 perf vertical / 2.35 / 0.839" × 0.715" / 2× anamorphic

First work: The Monte Carlo Story

Camera: 35 mm / 2.26 / 1.496" × 0.992" / 8 perf, 2 sides, horizontally / 1.5× anamorphic

Projection: 35 mm, 8 perf horizontal / 2.42 / 1.421" × 0.881" / 1.5× anamorphic

First work: The Monte Carlo Story

Camera: 35 mm / 1.3, 1.6, and 2.5 / variable aperture plates / 8 perf, 2 sides, horizontally / spherical

Projection: 35 mm, 4 perf, vertical / 1.3, 1.5, and 2.5 / — / spherical

First work: The Door in the Wall

Camera: 35 mm / 1.33 / 0.980" × 0.735" / 4 perf, 2 sides / spherical

Projection: 35 mm / 2.35 / 0.839" × 0.715" / 2× anamorphic

First work: Run for the Sun

Camera: 35 mm × 2 cameras / 1.78 × 2 negatives / — / 3 perf, 2 sides? / spherical

Projection: 35 mm × 2 projectors / 3.55, with a curved screen / — / spherical

First work: Thrillarama Adventure

Motion Picture Herald, 11 August 1956: Albert H. Reynolds, two cameras/projectors, 3.55:1.

Camera: 35 mm × 3 cameras (sides bounced off mirrors) / 1.33 × 3 negatives / 0.980" × 0.735" / 4 perf, 2 sides / spherical

Projection: 35 mm × 3 projectors (sides bounced off mirrors) / 4.00 / 0.931" × 0.698" / spherical

First work: Magirama

Camera: 65 mm / 2.76 / 2.072" × 0.906" / 5 perf, 2 sides / 1.25× anamorphic

Projection: 70 mm / 2.76 / 1.912" × 0.870" / 1.25× anamorphic

First work: Raintree County

Panavision describes system development in 1955; 1957 is the first-release date used by the reference table. Modern Ultra Panavision lens products can use a different squeeze, so their specifications do not apply to this format.

Camera: 65 mm / 2.76 / 2.072" × 0.906" / 5 perf, 2 sides / 1.25× anamorphic

Projection: 70 mm / 2.76 / 1.912" × 0.870" / 1.25× anamorphic

First work: Ben-Hur

Camera: 65 mm / 2.29 / 2.072" × 0.906" / 5 perfs, 2 sides / spherical

Projection: 35 mm (1 mm shaved off for UK prints) / 2.12 / 0.912" × 0.675" / 1.567× anamorphic

First work: Around the World in 80 Days

Camera: 35 mm / 1.51 / 1.495" × 0.991" / 8 perf, 2 sides, horizontally / spherical

Projection: 35 mm, 4 perf, vertical / 1.82 / 0.825" × 0.602" / 1.33× anamorphic

Camera: 35 mm / 2.37 / 0.866" × 0.732" / 4 perf, 2 sides / 2× anamorphic

Projection: 35 mm / 2.35 (1957–70); 2.39 (1970–present) / 0.839" × 0.715" (1957–70); 0.838" × 0.7" (1970–93); 0.825" × 0.690" (1993–present) / 2× anamorphic

First work: The Female Animal

Camera: 35 mm × 3 cameras / 0.91 × 3 negatives / 1.014" × 1.116" / 6 perf, 2 sides, at 25 frame/s / spherical

Projection: 35 mm × 3 projectors / 2.72 / 0.985" × 1.088" / spherical

First work: Great Is My Country

Camera: 65 mm / 2.28 / 2.066" × 0.906" / 5 perfs, 2 sides / spherical

Projection: 70 mm / 2.21 / 1.912" × 0.87" / spherical

First work: South Pacific

Camera: 35 mm × 3 cameras (sides bounced off mirrors) / 0.89 × 3 negatives / 0.996" × 1.116" / 6 perf, 2 sides at 26 frame/s / spherical

Projection: 35 mm × 3 projectors (sides bounced off mirrors), with 6 perf pulldown / 2.59, with 120° curved screen / 0.985" × 1.088" / spherical

First work: Windjammer

Camera: 35 mm / 2.26 / 1.496" × 0.992" / 8 perf, 2 sides, horizontally / 1.5× anamorphic

Projection: 70 mm / 2.21 / 1.912" × 0.816" / spherical

First work: Sleeping Beauty

Camera: 35 mm / 4.69 / 0.839" × 0.370" (bottom half) and 0.449" × 0.370" (top quarters) / 4 perf, 2 sides / spherical × 3

Projection: 35 mm / 4.69 / three sub-frames projected to one 180° image / spherical × 3

First work: Missouri travelogue

Camera: 35 mm × 11 cameras / 1.37 × 11 negatives / 0.866" × 0.630" / 4 perf, 2 sides / spherical

Projection: 35 mm × 11 projectors / 360° / 0.825" × 0.602" / spherical

First work: The Path of Spring

Camera: 65 mm / 2.28 / 2.066" × 0.906" / 5 perfs, 2 sides / spherical

Projection: 70 mm / variable framing run through control signal / 1.912" × 0.87" / spherical

First work: Flying Clipper

Camera: ? mm × 4 cameras / ? × 4 negatives / — / — / spherical

Projection: ? mm × 4 projectors / ? (4 images in 2×2 configuration) / — / spherical

First work: Design for Suburban Living showtent

Camera: 35 mm / 2.33 / 0.868" × 0.373" / 2 perf, 2 sides / spherical

Projection: 35 mm / 2.39 / 0.838" × 0.7" / 2× anamorphic

First work: The Pharaoh’s Woman

Camera: no standard / no standard / no standard / no standard / no standard

Projection: 35 mm / 2.50 with a 120° curved screen / 0.931" × 0.698", with two half-images turned 90° and placed side-by-side / spherical × 2

First work: Honeymoon

Camera: 3 mm / — / — / 1 perf, centered / spherical

Projection: — / — / — / —

First work: USAF and NASA usage

Camera: 55 mm / 2.55 / 1.824" × 1.430" / 8 perfs, 2 sides / 2× anamorphic

Projection: 70 mm / 2.21 / 1.912" × 0.87" / spherical

First work: The King and I (re-release)

Camera: 65 mm / 1.00 (circle) / 2.25" diameter circular image / 10 perf, 2 sides / fisheye

Projection: 70 mm / 1.00 (circle) / 2.25" diameter circular image / spherical

First work: Journey to the Stars

Camera: 8 mm / 1.48 / 0.245" × 0.166" / 1 perf, 1 side / spherical

Projection: 8 mm / 1.36 / 0.215" × 0.158" / spherical

First work: unknown (amateur format)

Camera: no standard / no standard / no standard / 1 perf, 1 side / spherical

Projection: 11.5 mm / 1.33 / 0.172" × 0.129" / spherical

Camera: 16 mm / 1.48 / 0.245" × 0.166" / 1 perf, 1 side (using 16 mm film with twice as many perfs) / spherical

Projection: 8 mm / 1.36 / 0.215" × 0.158" / spherical

First work: unknown (amateur format)

Camera: 8 mm / 1.36 / 0.224" × 0.164" / 1 perf, 1 side / spherical

Projection: 8 mm / 1.35 / 0.213" × 0.157" / spherical

First work: unknown (amateur format)

Camera: 65 mm / 2.28 / 2.066" × 0.906" / 5 perfs, 2 sides / spherical

Projection: 70 mm / 2.21, with 150° curved screen / 1.912" × 0.87", optically curved to compensate for the screen / spherical

First work: The Bible: In the Beginning

Camera: 35 mm × 9 cameras / 1.37 × 9 negatives / 0.866" × 0.630" / 4 perf, 2 sides / spherical

Projection: 35 mm × 9 projectors / 360° / 0.825" × 0.602" / spherical

First work: America the Beautiful

Camera: — / — / — / 1 perf / spherical

Projection: 8.75 mm / — / — / spherical

First work: unknown (amateur format)

Camera: 65 mm / — / — / 10 perf, 2 sides / spherical or fish-eye

Projection: 70 mm / — / — / fish-eye (dome projection)

Camera: 65 mm / 1.34 / 2.772" × 2.072" / 15 perf, 2 sides, horizontally / spherical

Projection: 70 mm, horizontal / 1.31 / 2.692" × 2.056" / spherical

First work: Tiger Child

The reference table gives a 1.31 projector-aperture ratio. IMAX release presentations specify 1.43:1; these are retained as separate historical aperture/presentation facts, not averaged.

Camera: 16 mm / 1.66 / 0.493" × 0.292" / 1 perf, 1 side / spherical

Projection: no standard, but often blown up to 35 mm / no standard / 0.463" × 0.279" (full frame); 0.463" × 0.251" (framed for 1.85) / spherical

First work: Blushing Charlie

Camera: no standard / no standard / no standard / no standard / no standard

Projection: 70 mm, horizontal, 1 perf, 2 sides / 1.48 / 0.245" × 0.166", 12 rows high, underneath 12 rows of optical sound / spherical

Camera: 65 mm / 1.34 / 2.772" × 2.072" / 15 perf, 2 sides, horizontally / special fish-eye lenses optically centered 0.37" above film horizontal center line

Projection: 70 mm, horizontal / 1.31 / 2.692" × 2.056" / spherical, projected elliptically on a dome screen, 20 degrees below and 110 degrees above perfectly centered viewers

First work: Garden Isle

Camera: 65 mm / 1.37 / 2.031" × 1.484" / 8 perf, 2 sides, 24 or 30 frame/s / spherical

Projection: 70 mm / 1.34 / 1.913" × 1.431" / spherical

Camera: 65 mm / 2.28 / 2.066" × 0.906" / 5 perfs, 2 sides, at 60 frame/s / spherical

Projection: 70 mm, at 60 frame/s / 2.21 / 1.912" × 0.87" / spherical

First work: Night of Dreams

Camera: 8 mm / 1.48 / 0.245" × 0.166" / 1 perf, 1 side / spherical

Projection: 8 mm / 1.36 / 0.215" × 0.158" / spherical

First work: unknown (amateur format)

Camera: 65 mm / 2.28 / 2.066" × 0.906" / 5 perfs, 2 sides, 30 frame/s / fisheye

Projection: 70 mm / 180°, on a dome / 1.912" × 0.87" / fisheye

First work: Crazy Wheels

Camera: 35 mm / 1.33 / 0.980" × 0.735" / 4 perf, 2 sides / spherical

Projection: 35 mm / no standard / no standard / no standard

First work: Dance Craze

Camera: 35 mm × 5 cameras / 1.37 × 5 negatives / 0.866" × 0.630" / 4 perf, 2 sides / spherical

Projection: 35 mm × 5 projectors / 6.85, on a 200° screen / 0.825" × 0.602" / spherical

First work: Impressions de France

Camera: 65 mm / 360° / 1.91" (outer edge), 1.20" (inner edge) / 10 perf, 2 sides / 360° × 35° extreme fisheye

Projection: 70 mm / 360° / — / 360° × 35° extreme fisheye

First work: Impressions of Switzerland

The documented screen is cylindrical, 360°, 60 m around and 5 m high. Neither 14:1 nor a single flat rectangle is adopted as its physical screen ratio.

Camera: 8 mm / 1.51 / 0.250" × 0.166" / 1 perf, 1 side / spherical

Projection: 8 mm / no standard / no standard / spherical

First work: Sleep Always (2002)

Camera: 35 mm / 1.79 / 0.980" × 0.546" / 3 perf, 2 sides / spherical

Projection: 35 mm / no standard / no standard / no standard

First work: Pirates of the Lake

Camera: 35 mm / 1.51 / 1.495" × 0.991" / 8 perf, 2 sides, horizontal / spherical

Projection: 70 mm / 2.21 / 1.912" × 0.87" / spherical

First work: The Ten Commandments (re-release)

Camera: no standard / no standard / no standard / no standard / no standard

Projection: 35 mm / 2.00 / 0.931" × 0.698" / 1.5× anamorphic

Camera: 65 mm × 2 cameras / 1.34 / 2.772" × 2.072" / 15 perf, 2 sides, horizontally / spherical

Projection: 70 mm, horizontal × 2 projectors / 1.31 × 2 screens (one in front, one below) / 2.692" × 2.056" / spherical

First work: Flowers in the Sky

Camera: 65 mm / 1.37 / 2.031" × 1.484" / 8 perf, 2 sides, 24 or 30 frame/s / fisheye

Projection: 70 mm / 1.34 / 1.913" × 1.431" / fisheye

Camera: 65 mm / 1.34 / 2.772" × 2.072" / 15 perf, 2 sides, horizontally, 48 frame/s / spherical

Projection: 70 mm, horizontal / 1.31 / 2.692" × 2.056" / spherical

First work: Momentum

Camera: 35 mm × 6 cameras / 1.37 × 6 negatives / 0.866" × 0.630" / 4 perf, 2 sides / spherical

Projection: 35 mm × 6 projectors / 360°, with rotating screens and projectors / 0.825" × 0.602" / spherical

First work: Expo ’92 demo

Camera: 35 mm × 3 cameras / 1.37 × 3 negatives / 0.866" × 0.630" / 4 perf, 2 sides, at 30 frame/s / spherical

Projection: 70 mm × 3 projectors, at 30 frame/s / 360° / 1.912" × 0.87" / spherical

Camera: 35 mm / 2.08 / 2.040" × 0.980" / 12 perf, 2 sides, horizontal / spherical

Projection: 70 mm / 2.21 / 1.912" × 0.87" / spherical

Camera: 35 mm / 2.00 / 0.945" × 0.472" / 3 perf, 2 sides at 25 frame/s / spherical

Projection: 35 mm / 2.00 / — / spherical

First work: Tango

Storaro describes first use on Tango in 1997; the reference table lists the film release/proposal year 1998. Production and release dates stay distinct.

Camera: 35 mm / 1.79 / 0.980" × 0.546" / 3 perf, 2 sides / spherical

Projection: 35 mm, 3 perf / 1.85 / — / spherical

Camera: 35 mm / 1.79 / 0.980" × 0.546" / 3 perf, 2 sides, 48 frame/s / spherical

Projection: 35 mm, 3 perf, 48 frame/s / 1.85 / — / spherical

Camera: 65 mm / 2.28 / 2.066" × 0.906" / 5 perfs, 2 sides, at 48 frame/s / spherical

Projection: 70 mm, at 48 frame/s / 2.21 / 1.912" × 0.87" / spherical

Camera: 65 mm / 1.52 / 2.066" × 0.906" / 5 perfs, 2 sides, 30 frame/s / 1.5× vertical anamorphic

Projection: 70 mm / 1.47 / 1.912" × 0.87" / 1.5× vertical anamorphic

Camera: 35 mm / 2.66 / — / 2 perf, 2 sides, 30 frame/s / spherical

Projection: 35 mm / 2.66 / — / spherical

Camera: 65 mm / 2.28 / 2.066" × 0.906" / 5 perfs, 2 sides, 30 frame/s / spherical

Projection: 70 mm / 2.21, on a curved screen / 1.912" × 0.87" / spherical

Camera: 35 mm / — / 20 rows of images wide / — / spherical

Projection: — / — / — / spherical

Camera: ? mm × 7 cameras / 1.33 × 7 negatives / — / — / spherical

Projection: ? mm × 7 projectors / hemispherical view / — / spherical

The undated reference entry has no creator. Contemporary USIA records mention Septorama; the Eames seven-screen installation has a separate attribution. These records describe different installations.

Camera: 35 mm / — / curved gate / 16 perf, 2 sides, horizontal / spherical

Projection: 35 mm, horizontal / curved screen / — / spherical

Camera: 65 mm / — / — / 10 perf, 2 sides / 2× anamorphic

Projection: 70 mm / 2.09 / 1.890" × 1.811" / 2× anamorphic

Camera: 35 mm / — / — / — / spherical

Projection: 35 mm / variable framing run through control signal / 0.835" × 0.713" (full); 0.835" × 0.453" (1.84); 0.709" × 0.524" (1.35); 0.614" × 0.614" (1.00); 0.535" × 0.713" (0.75) / spherical

Camera: 35 mm / — / — / — / —

Projection: 35 mm / variable framing run through control signal / 0.835" × 0.713" / variable anamorphic (2× for 2.35; 1.57× for 1.85; 1.17× for 1.37; 0.85× for 1.00; 0.64× for 0.75; 0.5× for 0.59)

Camera: 65 mm / — / — / 10 perfs, 2 sides / spherical

Projection: 70 mm / variable framing run through control signal / 1.890" × 1.811" (full); 1.890" × 0.803" (2.35); 1.673" × 0.906" (1.85); 1.441" × 1.051" (1.37); 1.232" × 1.232" (1.00); 1.063" × 1.429" (0.74); 0.945" × 1.604" (0.59); 0.839" × 1.811" (0.46) / spherical

The attribution, date and ratio follow the original catalogue entry and have not been independently confirmed.

MoMA specifies seven 30-by-20-foot screens. The 4 + 3 layout is schematic, not a measured aggregate ratio. The diagram shows discrete screens; 6.65:1 from the prototype is preserved as its artistic trigger, not a verified installation ratio.

Raster: 640 × 350

DMT defines raster timings. Raster width ÷ height assumes square pixels; it is not evidence of the physical shape of every historical CRT using this timing.

Raster: 640 × 400

Raster: 640 × 480

Raster: 720 × 400

Raster: 800 × 600

Raster: 848 × 480

Raster: 1024 × 768

Raster: 1152 × 864

Raster: 1280 × 768

Raster: 1280 × 800

Raster: 1280 × 960

Raster: 1280 × 1024

Raster: 1360 × 768

Raster: 1400 × 1050

Raster: 1440 × 900

Raster: 1600 × 1200

Raster: 1680 × 1050

Raster: 1792 × 1344

Raster: 1856 × 1392

Raster: 1920 × 1200

Raster: 1920 × 1440

Raster: 2560 × 1600

Raster: 720 × 480

720 samples per active line; non-square pixel interpretation and active clean-aperture conventions must be retained. The stored raster ratio alone does not define the screen.

Raster: 720 × 480

Raster: 720 × 576

Raster: 720 × 576

Raster: 1280 × 720

Raster: 1920 × 1080

Raster: 3840 × 2160

Raster: 7680 × 4320

Raster: 1998 × 1080

Nominal Flat 1.85, Scope 2.39 and Container 1.90 are rounded labels. Exact raster ratios are preserved. Container size does not by itself define picture masking.

Raster: 2048 × 858

Raster: 2048 × 1080

Raster: 3996 × 2160

Raster: 4096 × 1716

Raster: 4096 × 2160

Raster: 5120 × 1440

A curved 1000R monitor; this rectangle represents its pixel raster, not a curvature measurement.

Raster: 640 × 1136

The exact raster differs slightly from ideal 9:16.