#000FFF

Arthur Fouray

  1. Chronophotographe

    Developer: Étienne-Jules Marey · 1888

    1:1 · camera

  2. Details [2]

    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.

  3. Paper film

    Developer: Louis Le Prince · 1888

    1:11:1 · camera

  4. Details

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

    Projection: not known / 1.00 / – / spherical

    First work: Roundhay Garden Scene

  5. Machine Camera

    Developer: William Friese-Greene · 1889

    1:1 · camera

  6. Details

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

    Projection: – / – / – / –

    First work: Hyde Park Corner & Marble Arch

  7. Kinetoscope cylinder

    Developer: William K. L. Dickson & Thomas Edison · 1889 or 1890

    Aspect ratio not documented

  8. Details

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

    Projection: – / – / – / spherical

    First work: Monkeyshines, No. 1

  9. Kinesigraph

    Developer: Wordsworth Donisthorpe · 1890 or 1891

    1:1 · camera

  10. Details

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

    Projection: – / – / – / –

    First work: view of Trafalgar Square

  11. Friese-Greene

    Developer: William Friese-Greene · 1891

    1.325:1 · camera

  12. Details

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

    Projection: – / – / – / –

    First work: King's Road, Chelsea, London

  13. Kinetoscope horizontal

    Developer: William K. L. Dickson & William Heise · 1891

    Aspect ratio not documented

  14. Details

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

    Projection: – / – / – / spherical

    First work: Dickson Greeting

  15. Silent film standard

    Developer: William K. L. Dickson & Thomas Edison · 1892

    1.33:11.33:1 · camera

  16. Details [3]

    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

  17. Bioscop

    Developer: Max Skladanowsky · 1892

    Aspect ratio not documented

  18. Details

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

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

    First work: footage of Emil Skladanowsky

  19. Eidoloscope

    Developer: Woodville Latham · 1895

    1.85:11.85:1 · camera

  20. Details

    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

  21. Cinématographe

    Developer: Lumière Brothers · 1895

    1.33:11.33:1 · camera

  22. Details

    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 Lumière

  23. Biograph

    Developer: William K. L. Dickson & Herman Casler · 1895

    1.35:1 · camera

  24. Details

    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

  25. Joly-Normandin

    Developer: Henri Joly · 1895

    Aspect ratio not documented

  26. Details

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

    Projection: 60 mm / – / – / spherical

  27. Biographe

    Developer: Demeny-Gaumont · 1896

    1.4:11.4:1 · camera

  28. Details

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

    Projection: 60 mm / 1.40 / – / spherical

  29. Chronophotographe

    Developer: Demeny-Gaumont · 1896

    1.4:11.4:1 · camera

  30. Details

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

    Projection: 60 mm / 1.40 / – / spherical

  31. Sivan-Dalphin

    Developer: Casimir Sivan and E. Dalphin · 1896

    Aspect ratio not documented

  32. Details

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

    Projection: 38 mm / – / – / spherical

  33. Veriscope

    Developer: Enoch Rector · 1897

    1.66:1 · camera

  34. Details

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

    Projection: 63 mm / – / – / spherical

    First work: The Corbett-Fitzsimmons Fight

  35. Viventoscope

    Developer: Thomas Henry Blair · 1897

    1.5:1 · camera

  36. Details

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

    Projection: 48 mm / – / – / spherical

  37. Birtac

    Developer: Birt Acres · 1898

    Aspect ratio not documented

  38. Details

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

    Projection: 17.5 mm / – / – / spherical

    First work: unknown (amateur format)

  39. Biokam

    Developer: T. C. Hepworth · 1899

    1.6:1 · camera

  40. Details

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

    Projection: 17.5 mm / – / – / spherical

    First work: unknown (amateur format)

  41. Prestwich 13 mm

    Developer: John Alfred Prestwich · 1899

    Aspect ratio not documented

  42. Details

    Camera: 13 mm / – / – / – / spherical

    Projection: 13 mm / – / – / spherical

    First work: unknown (amateur format)

  43. Mirograph

    Developer: Reulos, Goudeau & Co · 1900

    Aspect ratio not documented

  44. Details

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

    Projection: 21 mm / – / – / spherical

    First work: unknown (amateur format)

  45. Lumière Wide

    Developer: Lumière Brothers · 1900

    1.33:11.33:1 · camera

  46. Details

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

    Projection: 75 mm / 1.33 / – / spherical

  47. Cinéorama

    Developer: R. Grimoin-Sanson · 1900

    360° – topology diagram

  48. Details

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

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

    First work: Cinéorama

  49. La Petite (Hughes)

    Developer: W.C. Hughes · 1900

    1.6:1 · camera

  50. Details

    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)

  51. Pocket Chrono

    Developer: Gaumont Demeny · 1900

    Aspect ratio not documented

  52. Details

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

    Projection: 15 mm / – / – / spherical

    First work: unknown (amateur format)

  53. Vitak

    Developer: William Wardell · 1902

    Aspect ratio not documented

  54. Details

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

    Projection: 11 mm / – / – / spherical

    First work: unknown (amateur format)

  55. Home Kinetoscope

    Developer: Edison · 1912

    1.5:1

  56. Details

    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)

  57. Pathé Kok

    Developer: Pathé · 1912

    1.36:1 · camera

  58. Details

    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)

  59. Duoscope

    Developer: Alexander F. Victor · 1912

    Aspect ratio not documented

  60. Details

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

    Projection: 17.5 mm / – / – / spherical

    First work: unknown (amateur format)

  61. Panoramico

    Developer: Filoteo Alberini · 1914

    2.52:1 · camera

  62. Details

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

    Projection: 70 mm / – / – / spherical

    First work: Il sacco di Roma

  63. Split Duplex

    Developer: Duplex Corporation · 1915

    1.87:11.33:1 · camera

  64. Details

    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)

  65. 11 mm

    Developer: Creator not documented – American · 1916

    Aspect ratio not documented

  66. Details

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

    Projection: 11 mm / – / – / spherical

    First work: unknown (amateur format)

  67. Movette

    Developer: Movette Camera Company · 1917

    Aspect ratio not documented

  68. Details

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

    Projection: 17.5 mm / – / – / spherical

    First work: unknown (amateur format)

  69. 28 mm safety standard

    Developer: Alexander F. Victor · 1918

    1.36:1 · camera

  70. Details

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

    Projection: 28 mm / – / – / spherical

    First work: unknown (amateur format)

  71. Clou

    Developer: Creator not documented – Austrian · 1920

    Aspect ratio not documented

  72. Details

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

    Projection: 17.5 mm / – / – / spherical

    First work: unknown (amateur format)

  73. 26 mm

    Developer: Creator not documented – French · 1920

    Aspect ratio not documented

  74. Details

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

    Projection: 26 mm / – / – / spherical

    First work: unknown (amateur format)

  75. 9.5 mm

    Developer: Pathé · 1922

    1.31:11.31:1 · camera

  76. Details

    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)

  77. Phonofilm

    Developer: Lee De Forest · 1922

    1.17:11.33:1 · camera

  78. Details

    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

  79. Widescope

    Developer: John D. Elms & George W. Bingham · 1922

    2.66:11.33:1 · camera

  80. Details

    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

  81. Cinebloc

    Developer: Ozaphan · 1922

    Aspect ratio not documented

  82. Details

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

    Projection: 22 mm / – / – / spherical

    First work: unknown (amateur format)

  83. Tri-Ergon soundfilm

    Developer: Tri-Ergon · 1922

    1.33:11.33:1 · camera

  84. Details

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

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

  85. 16 mm

    Developer: Eastman Kodak · 1923

    1.37:11.37:1 · camera

  86. Details

    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)

  87. Duplex

    Developer: G.J. Bradley · 1923

    Aspect ratio not documented

  88. Details

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

    Projection: 11.5 mm / – / – / spherical

    First work: unknown (amateur format)

  89. Alberini-Hill

    Developer: Corrado Cerqua · 1924

    1.66:1 · camera

  90. Details

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

    Projection: 35 mm / – / – / spherical

  91. Cinelux

    Developer: Ozaphan · 1924

    Aspect ratio not documented

  92. Details

    Camera: 24 mm / – / – / – / spherical

    Projection: 24 mm / – / – / spherical

    First work: unknown (amateur format)

  93. 48 mm

    Developer: J.H. Powrie · 1924

    1.33:11.32:1 · camera

  94. Details

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

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

  95. Natural Vision

    Developer: George K. Spoor & P. John Berggren · 1925

    2:11.84:1 · camera

  96. Details

    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

  97. 13 mm

    Developer: Creator not documented – French · 1925

    Aspect ratio not documented

  98. Details

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

    Projection: 13 mm / – / – / spherical

    First work: unknown (amateur format)

  99. 18 mm

    Developer: Creator not documented – Russian · 1925

    Aspect ratio not documented

  100. Details

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

    Projection: 18 mm / – / – / spherical

    First work: unknown (amateur format)

  101. Pathé Rural

    Developer: Pathé · 1926

    1.33:11.26:11.35:1 · camera1.3:1 · camera

  102. Details

    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)

  103. Widevision

    Developer: John D. Elms & George W. Bingham · 1926

    Aspect ratio not documented

  104. Details

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

    Projection: 57 mm / – / – / spherical

    First work: Natural Vision Pictures

  105. Magnascope

    Developer: Lorenzo del Riccio · 1926

    1.33:11.33:1 · camera

  106. Details

    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

  107. Fox Movietone

    Developer: F. H. Owens, T. Case, Tri-Ergon · 1927

    1.17:11.33:1 · camera

  108. Details

    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

  109. Polyvision

    Developer: Abel Gance · 1927

    4:11.33:1 · camera

  110. Details [4]

    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

  111. Hypergonar

    Developer: Henri Chrétien · 1927

    2.66:12.66:1 · camera

  112. Details

    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

  113. Magnafilm

    Developer: Lorenzo del Riccio · 1929

    2:12.19:1 · camera

  114. Details

    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

  115. Fox Grandeur

    Developer: Fox Film Corporation · 1929

    2:12.07:1 · camera

  116. Details

    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

  117. Fearless Super Pictures

    Developer: Ralph G. Fear · 1929

    2.27:1 · camera

  118. Details

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

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

  119. Fearless Super-Film / Magnifilm / Fox Vitascope

    Developer: Ralph G. Fear · 1930

    2.05:12:1 · camera

  120. Details

    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

  121. Realife

    Developer: MGM · 1930

    1.75:12.07:1 · camera

  122. Details

    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

  123. 50 mm

    Developer: Fox Film Corporation & SMPE · 1930

    1.8:11.8:1 · camera

  124. Details

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

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

  125. 17 mm sound

    Developer: Creator not documented – French · 1930

    Aspect ratio not documented

  126. Details

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

    Projection: 17 mm / – / – / spherical

    First work: unknown (amateur format)

  127. Giant Expanding Pictures

    Developer: George Palmer · 1930

    1.17:11.33:1 · camera

  128. Details

    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)

  129. Kodel Kemco Homovie

    Developer: Clarence Ogden · 1931

    Aspect ratio not documented

  130. Details

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

    Projection: 16 mm / – / – / spherical

    First work: unknown (amateur format)

  131. Academy format

    Developer: AMPAS · 1932

    1.37:11.375:1 · camera1.37:1 · camera1.375:1 – projection-aperture-derived

  132. Details

    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.

  133. 8 mm

    Developer: Eastman Kodak · 1932

    1.33:11.32:1 · camera

  134. Details

    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)

  135. Straight 8

    Developer: Bell & Howell · 1935

    1.33:11.32:1 · camera

  136. Details

    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)

  137. Vitarama

    Developer: Fred Waller · 1939

    hemispherical view – topology diagram1.37:1 · camera

  138. Details

    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

  139. Waller Flexible Gunnery Trainer

    Developer: Fred Waller · 1943

    hemispherical view – topology diagram1.37:1 · camera

  140. Details

    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

  141. Cinerama

    Developer: Fred Waller · 1952

    2.59:12.59:1 – composite of 3 negatives

  142. Details

    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.

  143. Matted 1.66

    Developer: Paramount · 1953

    1.66:11.37:1 · camera

  144. Details

    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

  145. Matted 1.85

    Developer: Universal · 1953

    1.85:11.37:1 · camera

  146. Details

    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

  147. Matted 1.75

    Developer: MGM · 1953

    1.75:11.37:1 · camera

  148. Details

    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

  149. Cinemascope

    Developer: 20th Century-Fox – Henri Chrétien; Earl I. Sponable and Fox technical team · 1953

    2.55:12.35:12.55:1 · camera2.35:1 · camera2.66:1 – 1953 demonstration

  150. Details [5]

    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.

  151. Arnoldscope

    Developer: John Arnold · 1953

    Aspect ratio not documented

  152. Details

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

    Projection: – / – / – / –

  153. VistaVision

    Developer: Paramount · 1954

    1.85:11.51:1 · camera1.33:1 – permitted Paramount presentation1.66:1 – permitted Paramount presentation2:1 – permitted Paramount presentation

  154. Details [6]

    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.

  155. VistaVision Large Area

    Developer: Paramount · 1954

    1.96:11.51:1 · camera

  156. Details [6]

    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

  157. Superscope

    Developer: Tushinsky Brothers · 1954

    2:11.33:1 · camera

  158. Details

    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

  159. Circarama

    Developer: Disney · 1955

    360° – topology diagram1.37:1 · camera

  160. Details

    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

  161. Todd-AO

    Developer: Michael Todd · 1955

    2.21:12.29:1 · camera

  162. Details

    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

  163. CinemaScope 55

    Developer: 20th Century Fox · 1955

    2.55:12.55:1 · camera

  164. Details

    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

  165. 9.5 Duplex

    Developer: Pathé Frères · 1955

    1.51:1 · camera

  166. Details

    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: ?

  167. 8 mm Panoramic

    Developer: Dimaphot, Paris · 1955

    1.5:1 · camera

  168. Details

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

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

    First work: ?

  169. Emel Panoscope

    Developer: Emel, Paris · 1955

    2.7:1 · camera

  170. Details

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

    Projection: 16 mm / – / – / spherical

    First work: ?

  171. Technirama

    Developer: Technicolor · 1956

    2.35:12.26:1 · camera

  172. Details

    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

  173. Technirama Large Area

    Developer: Technicolor · 1956

    2.42:12.26:1 · camera

  174. Details

    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

  175. Dynamic Frame

    Developer: Glenn Alvey · 1956

    1.3:11.5:12.5:11.3:1 · camera1.6:1 · camera2.5:1 · camera

  176. Details

    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

  177. Superscope 235

    Developer: Superscope Inc. · 1956

    2.35:11.33:1 · camera

  178. Details

    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

  179. Thrillarama

    Developer: Albert H. Reynolds · 1956

    3.55:11.78:1 · camera

  180. Details [7]

    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.

  181. Magirama

    Developer: Abel Gance · 1956

    4:11.33:1 · camera

  182. Details

    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

  183. MGM Camera 65

    Developer: Panavision and MGM – Robert Gottschalk, Walter Wallin, Takuo Miyagishima and engineering teams · 1957

    2.76:12.76:1 · camera

  184. Details [8]

    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.

  185. Ultra Panavision

    Developer: Panavision and MGM – Robert Gottschalk, Walter Wallin, Takuo Miyagishima and engineering teams · 1962

    2.76:12.76:1 · camera

  186. Details [8]

    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

  187. Cinestage

    Developer: Mike Todd · 1957

    2.12:12.29:1 · camera

  188. Details

    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

  189. Rank VistaVision

    Developer: J. Arthur Rank Organization · 1957

    1.82:11.51:1 · camera

  190. Details

    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

  191. Modern anamorphic

    Developer: Panavision · 1958

    2.35:12.39:12.37:1 · camera

  192. Details

    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

  193. Kinopanorama

    Developer: NIKFI · 1958

    2.72:10.91:1 · camera

  194. Details

    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

  195. 70 mm

    Developer: American Optical Company · 1958

    2.21:12.28:1 · camera

  196. Details

    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

  197. Cinemiracle

    Developer: National Theatres · 1958

    2.59:10.89:1 · camera

  198. Details

    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

  199. Super Technirama

    Developer: Technicolor · 1959

    2.21:12.26:1 · camera

  200. Details

    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

  201. Smith-Carney System

    Developer: Rowe E. Carney Jr. and Tom F. Smith · 1959

    4.69:14.69:1 · camera

  202. Details

    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

  203. Circular Kinopanorama / Circlorama

    Developer: E. Goldovsky · 1959

    360° – topology diagram1.37:1 · camera

  204. Details

    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

  205. Varioscope

    Developer: Jan Jacobsen · 1959

    2.28:1 · camera

  206. Details

    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

  207. Quadravision

    Developer: Ford Motor Company · 1959

    4 images in 2 × 2 arrangement – ratios not documented

  208. Details

    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

  209. Techniscope

    Developer: Technicolor · 1960

    2.39:12.33:1 · camera

  210. Details

    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

  211. Wonderama (Arc 120)

    Developer: Leon W. Wells · 1960

    2.5:1

  212. Details

    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

  213. Cine System 3

    Developer: Eric Berndt · 1960

    Aspect ratio not documented

  214. Details

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

    Projection: – / – / – / –

    First work: USAF and NASA usage

  215. Grandeur 70

    Developer: 20th Century Fox · 1961

    2.21:12.55:1 · camera

  216. Details

    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)

  217. Cinerama 360

    Developer: Cinerama Corporation · 1962

    Circular projected image – equal diameters1:1 – circular camera image

  218. Details

    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

  219. Super 8

    Developer: Eastman Kodak · 1965

    1.36:11.48:1 · camera

  220. Details

    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)

  221. Real Sound

    Developer: Kenner · 1965

    1.33:1

  222. Details

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

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

  223. Double Super 8

    Developer: Eastman Kodak · 1965

    1.36:11.48:1 · camera

  224. Details

    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)

  225. Single-8

    Developer: Fujifilm · 1966

    1.35:11.36:1 · camera

  226. Details

    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)

  227. Dimension 150

    Developer: American Optical Company · 1966

    2.21:12.28:1 · camera

  228. Details

    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

  229. Circle Vision 360

    Developer: Disney · 1967

    360° – topology diagram1.37:1 · camera

  230. Details

    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

  231. 8.75 mm

    Developer: Shanghai Film Projection Equipment Factory · 1968

    Aspect ratio not documented

  232. Details

    Camera: – / – / – / 1 perf / spherical

    Projection: 8.75 mm / – / – / spherical

    First work: unknown (amateur format)

  233. Astrovision

    Developer: Goto Optical · 1969

    Dome projection – topology diagram

  234. Details

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

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

  235. IMAX

    Developer: IMAX Corporation – Graeme Ferguson, Roman Kroitor, Robert Kerr, William Shaw · 1970

    1.43:1 – IMAX 70mm presentation1.34:1 · camera1.31:1 – reference aperture; historical transcription

  236. Details [9] [10]

    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.

  237. Super 16 mm film

    Developer: Rune Ericson · 1970

    1.66:1 · camera

  238. Details

    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

  239. Pik-a-Movie

    Developer: Leon W. Wells · 1972

    1.48:1

  240. Details

    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

  241. OMNIMAX

    Developer: IMAX Corporation – Graeme Ferguson, Roman Kroitor, Robert Kerr, William Shaw · 1973

    Dome projection – topology diagram1.31:1 – reference projector aperture1.34:1 · camera

  242. Details [9]

    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

  243. 8/70 (Dynavision, Iwerks 870)

    Developer: Dynavision · 1973?

    1.34:11.37:1 · camera

  244. Details

    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

  245. Showscan

    Developer: Douglas Trumbull · 1978

    2.21:12.28:1 · camera

  246. Details

    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

  247. Polavision

    Developer: Polaroid Corporation · 1978

    1.36:11.48:1 · camera

  248. Details

    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)

  249. Cinema 180

    Developer: Omni Films · 1979

    180°, on a dome – topology diagram2.28:1 · camera

  250. Details

    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

  251. Super 35

    Developer: Joe Dunton · 1982

    1.33:1 · camera

  252. Details

    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

  253. Circle Vision 200

    Developer: Disney · 1982

    6.85:11.37:1 · camera

  254. Details

    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

  255. Swissorama 360 / Imagine 360

    Developer: Ernst A. Heiniger · 1984

    360° – topology diagram

  256. Details [11]

    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.

  257. Super Duper 8 / Max 8 / Super 8B

    Developer: Mitch Perkins & Greg Miller · mid-1980s

    1.51:1 · camera

  258. Details

    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)

  259. 3-perf

    Developer: Rune Ericson · 1987

    1.79:1 · camera

  260. Details

    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

  261. Super VistaVision

    Developer: Paramount · 1989

    2.21:11.51:1 · camera

  262. Details

    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)

  263. Kinoton HDFS

    Developer: Kinoton · 1990

    2:1

  264. Details

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

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

  265. IMAX Magic Carpet

    Developer: IMAX Corporation – Graeme Ferguson, Roman Kroitor, Robert Kerr, William Shaw · 1990

    Two screens – one in front, one below1.34:1 · camera

  266. Details [9]

    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

  267. Iwerksphere

    Developer: Iwerks · 1991

    1.34:11.37:1 · camera

  268. Details

    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

  269. IMAX HD

    Developer: IMAX Corporation – Graeme Ferguson, Roman Kroitor, Robert Kerr, William Shaw · 1992

    1.31:11.34:1 · camera

  270. Details [9]

    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

  271. Hexiplex

    Developer: Creator not documented – Australian · 1992

    360°, with rotating screens and projectors – topology diagram1.37:1 · camera

  272. Details

    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

  273. Ultra Toruscope

    Developer: Mac McCarney · 1992

    360° – topology diagram1.37:1 · camera

  274. Details

    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

  275. Imagination FX 7012

    Developer: Geo-Odyssey · 1992?

    2.21:12.08:1 · camera

  276. Details

    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

  277. Univisium

    Developer: Vittorio Storaro and Fabrizio Storaro · 1998

    2:12:1 · camera

  278. Details [12] [13] [14]

    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.

  279. Maxivision

    Developer: Dean Goodhill · 1999

    1.85:11.79:1 · camera

  280. Details

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

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

  281. Maxivision 48

    Developer: Dean Goodhill · 1999

    1.85:11.79:1 · camera

  282. Details

    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

  283. Super Dimension 70

    Developer: Robert Weisgerber · 1999

    2.21:12.28:1 · camera

  284. Details

    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

  285. FuturVision 360

    Developer: Creator not documented · Date not documented

    1.47:11.52:1 · camera

  286. Details

    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

  287. Mini-Max

    Developer: Vistascope · Date not documented

    2.66:12.66:1 · camera

  288. Details

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

    Projection: 35 mm / 2.66 / – / spherical

  289. MotionMaster

    Developer: Omni Films · Date not documented

    2.21:12.28:1 · camera

  290. Details

    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

  291. Row-film

    Developer: R. Thun · Date not documented

    Aspect ratio not documented

  292. Details

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

    Projection: – / – / – / spherical

  293. Septorama

    Developer: Creator not documented · Date not documented

    hemispherical view – topology diagram1.33:1 · camera

  294. Details

    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.

  295. Single Cinerama

    Developer: Fred Waller · Date not documented

    Aspect ratio not documented

  296. Details

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

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

  297. Soviet 10

    Developer: Creator not documented · Date not documented

    2.09:1

  298. Details

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

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

  299. Vario-35

    Developer: Creator not documented · Date not documented

    1.84:1 · variable1.35:1 · variable1:1 · variable0.75:1 · variable

  300. Details

    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

  301. Vario-35A

    Developer: Creator not documented · Date not documented

    2.35:1 · variable1.85:1 · variable1.37:1 · variable1:1 · variable0.75:1 · variable0.59:1 · variable

  302. Details

    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)

  303. Vario-70

    Developer: Creator not documented · Date not documented

    2.35:1 · variable1.85:1 · variable1.37:1 · variable1:1 · variable0.74:1 · variable0.59:1 · variable0.46:1 · variable

  304. Details

    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

  305. Acres 70

    Original attribution: Birt Acres · 1894

    1.38:1 – my own research

  306. Details

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

  307. Seven-screen presentation – Glimpses of the U.S.A.

    Designers: Charles and Ray Eames / Eames Office; dome: R. Buckminster Fuller · 1959

    7 screens, each 3:2 – schematic 4 + 3 layout

  308. Details [16]

    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.

  309. Display timing 640 × 350

    Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

    64:35 – square-pixel raster

  310. Details [17]

    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.

  311. Display timing 640 × 400

    Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

    8:5 – square-pixel raster

  312. Details [17]

    Raster: 640 × 400

  313. Display timing 640 × 480

    Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

    4:3 – square-pixel raster

  314. Details [17]

    Raster: 640 × 480

  315. Display timing 720 × 400

    Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

    9:5 – square-pixel raster

  316. Details [17]

    Raster: 720 × 400

  317. Display timing 800 × 600

    Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

    4:3 – square-pixel raster

  318. Details [17]

    Raster: 800 × 600

  319. Display timing 848 × 480

    Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

    53:30 – square-pixel raster

  320. Details [17]

    Raster: 848 × 480

  321. Display timing 1024 × 768

    Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

    4:3 – square-pixel raster

  322. Details [17]

    Raster: 1024 × 768

  323. Display timing 1152 × 864

    Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

    4:3 – square-pixel raster

  324. Details [17]

    Raster: 1152 × 864

  325. Display timing 1280 × 768

    Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

    5:3 – square-pixel raster

  326. Details [17]

    Raster: 1280 × 768

  327. Display timing 1280 × 800

    Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

    8:5 – square-pixel raster

  328. Details [17]

    Raster: 1280 × 800

  329. Display timing 1280 × 960

    Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

    4:3 – square-pixel raster

  330. Details [17]

    Raster: 1280 × 960

  331. Display timing 1280 × 1024

    Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

    5:4 – square-pixel raster

  332. Details [17]

    Raster: 1280 × 1024

  333. Display timing 1360 × 768

    Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

    85:48 – square-pixel raster

  334. Details [17]

    Raster: 1360 × 768

  335. Display timing 1400 × 1050

    Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

    4:3 – square-pixel raster

  336. Details [17]

    Raster: 1400 × 1050

  337. Display timing 1440 × 900

    Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

    8:5 – square-pixel raster

  338. Details [17]

    Raster: 1440 × 900

  339. Display timing 1600 × 1200

    Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

    4:3 – square-pixel raster

  340. Details [17]

    Raster: 1600 × 1200

  341. Display timing 1680 × 1050

    Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

    8:5 – square-pixel raster

  342. Details [17]

    Raster: 1680 × 1050

  343. Display timing 1792 × 1344

    Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

    4:3 – square-pixel raster

  344. Details [17]

    Raster: 1792 × 1344

  345. Display timing 1856 × 1392

    Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

    4:3 – square-pixel raster

  346. Details [17]

    Raster: 1856 × 1392

  347. Display timing 1920 × 1200

    Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

    8:5 – square-pixel raster

  348. Details [17]

    Raster: 1920 × 1200

  349. Display timing 1920 × 1440

    Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

    4:3 – square-pixel raster

  350. Details [17]

    Raster: 1920 × 1440

  351. Display timing 2560 × 1600

    Standard publisher: Video Electronics Standards Association (VESA) · DMT revision 11 · 2007

    8:5 – square-pixel raster

  352. Details [17]

    Raster: 2560 × 1600

  353. SD digital television · 480 lines · 4:3

    Standard publisher: ITU-R · BT.601

    4:3 – display

  354. Details [18]

    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.

  355. SD digital television · 480 lines · 16:9

    Standard publisher: ITU-R · BT.601

    16:9 – display

  356. Details [18]

    Raster: 720 × 480

  357. SD digital television · 576 lines · 4:3

    Standard publisher: ITU-R · BT.601

    4:3 – display

  358. Details [18]

    Raster: 720 × 576

  359. SD digital television · 576 lines · 16:9

    Standard publisher: ITU-R · BT.601

    16:9 – display

  360. Details [18]

    Raster: 720 × 576

  361. HD 720

    Standard publisher: SMPTE – Technology Committee 10E · ST 296:2012

    16:9 – display

  362. Details [19]

    Raster: 1280 × 720

  363. HD 1080

    Standard publisher: ITU-R · BT.709

    16:9 – display

  364. Details [20]

    Raster: 1920 × 1080

  365. UHD 4K

    Standard publisher: ITU-R · BT.2020 · 2012 / 2015

    16:9 – square pixels

  366. Details [21]

    Raster: 3840 × 2160

  367. UHD 8K

    Standard publisher: ITU-R · BT.2020 · 2012 / 2015

    16:9 – square pixels

  368. Details [21]

    Raster: 7680 × 4320

  369. Digital cinema 2K – Flat

    Standard publisher: DCI / SMPTE / ISDCF · Digital cinema

    1.850000:1 – active raster

  370. Details [22]

    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.

  371. Digital cinema 2K – Scope

    Standard publisher: DCI / SMPTE / ISDCF · Digital cinema

    2.386946:1 – active raster

  372. Details [22]

    Raster: 2048 × 858

  373. Digital cinema 2K – Full container

    Standard publisher: DCI / SMPTE / ISDCF · Digital cinema

    1.896296:1 – container

  374. Details [22]

    Raster: 2048 × 1080

  375. Digital cinema 4K – Flat

    Standard publisher: DCI / SMPTE / ISDCF · Digital cinema

    1.850000:1 – active raster

  376. Details [22]

    Raster: 3996 × 2160

  377. Digital cinema 4K – Scope

    Standard publisher: DCI / SMPTE / ISDCF · Digital cinema

    2.386946:1 – active raster

  378. Details [22]

    Raster: 4096 × 1716

  379. Digital cinema 4K – Full container

    Standard publisher: DCI / SMPTE / ISDCF · Digital cinema

    1.896296:1 – container

  380. Details [22]

    Raster: 4096 × 2160

  381. IMAX digital presentation

    Developer: IMAX Corporation · Digital IMAX

    1.90:1 – presentation

  382. Details [10]

  383. Odyssey G9 DQHD

    Manufacturer: Samsung Electronics · 2020

    32:9 – display

  384. Details [23]

    Raster: 5120 × 1440

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

  385. iPhone 5 display

    Manufacturer: Apple · 2012

    40:71 – portrait display

  386. Details [24]

    Raster: 640 × 1136

    The exact raster differs slightly from ideal 9:16.

  387. A screen has a shape before it has an image. In #000fff, chroma-key blue – the colour a studio replaces with another picture – is painted on a wall in the proportions of a historical film format, and every painting hosts another work, by another artist or by me. The series began with Spectre in 2015, and its name plays on 'off'. Here the browser carries the research on through 193 formats, from Marey's chronophotograph of 1888 to the iPhone 5; resize the window or move between formats to compare their frames.

    Camera fields: gauge / reference A/R / gate aperture / transport / optics. Projection fields: gauge / reference A/R / aperture / optics.

    Camera frames, projected pictures, stored rasters and spatial installations retain their own measurements. A circle or dome is a topology diagram. Missing attributions and dimensions remain marked. Historical fields are reference transcriptions unless a named primary source confirms the field.

    Wikipedia contributors, List of motion picture film formats, consulted 2 October 2026. Adapted factual catalogue with additions, CC BY-SA 4.0.

  388. Wikipedia film-format reference

  389. Cinémathèque: Marey film strips

  390. Library of Congress: origins of motion pictures

  391. PDF

  392. 20th Century-Fox: The Dynamo, 1953

  393. Loren L. Ryder / Paramount: VistaVision brochure

  394. Motion Picture Herald: Thrillarama, 11 August 1956

  395. Panavision: system development history

  396. IMAX: company and co-founder attribution

  397. Universal: IMAX release presentation formats

  398. Swissorama history and screen topology

  399. Vittorio Storaro: Univisium interview

  400. American Cinematographer: Univisium production

  401. PDF

  402. PDF

  403. PDF

  404. ITU-R BT.601: standard-definition television

  405. PDF

  406. ITU-R BT.709: high-definition television

  407. ITU-R BT.2020: ultra-high-definition television

  408. ISDCF: image rasters, containers and masking

  409. Samsung: Odyssey G9 display specifications

  410. Apple: iPhone 5 display specifications