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Chronophotographe

Developer: Étienne-Jules Marey · 1888

1:1 · camera

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.
Paper film

Developer: Louis Le Prince · 1888

1:1
1:1 · camera

Details

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

Projection: not known / 1.00 / – / spherical

First work: Roundhay Garden Scene
Machine Camera

Developer: William Friese-Greene · 1889

1:1 · camera

Details

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

Projection: – / – / – / –

First work: Hyde Park Corner & Marble Arch
Kinetoscope cylinder

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

Aspect ratio not documented

Details

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

Projection: – / – / – / spherical

First work: Monkeyshines, No. 1
Kinesigraph

Developer: Wordsworth Donisthorpe · 1890 or 1891

1:1 · camera

Details

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

Projection: – / – / – / –

First work: view of Trafalgar Square
Friese-Greene

Developer: William Friese-Greene · 1891

1.325:1 · camera

Details

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

Projection: – / – / – / –

First work: King’s Road, Chelsea, London
Kinetoscope horizontal

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

Aspect ratio not documented

Details

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

Projection: – / – / – / spherical

First work: Dickson Greeting
Silent film standard

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

1.33:1
1.33:1 · camera

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
Bioscop

Developer: Max Skladanowsky · 1892

Aspect ratio not documented

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
Eidoloscope

Developer: Woodville Latham · 1895

1.85:1
1.85:1 · camera

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
Cinématographe

Developer: Lumière Brothers · 1895

1.33:1
1.33:1 · camera

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
Biograph

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

1.35:1 · camera

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
Joly-Normandin

Developer: Henri Joly · 1895

Aspect ratio not documented

Details

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

Projection: 60 mm / – / – / spherical
Biographe

Developer: Demeny-Gaumont · 1896

1.4:1
1.4:1 · camera

Details

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

Projection: 60 mm / 1.40 / – / spherical
Chronophotographe

Developer: Demeny-Gaumont · 1896

1.4:1
1.4:1 · camera

Details

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

Projection: 60 mm / 1.40 / – / spherical
Sivan-Dalphin

Developer: Casimir Sivan and E. Dalphin · 1896

Aspect ratio not documented

Details

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

Projection: 38 mm / – / – / spherical
Veriscope

Developer: Enoch Rector · 1897

1.66:1 · camera

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
Viventoscope

Developer: Thomas Henry Blair · 1897

1.5:1 · camera

Details

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

Projection: 48 mm / – / – / spherical
Birtac

Developer: Birt Acres · 1898

Aspect ratio not documented

Details

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

Projection: 17.5 mm / – / – / spherical

First work: unknown (amateur format)
Biokam

Developer: T. C. Hepworth · 1899

1.6:1 · camera

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)
Prestwich 13 mm

Developer: John Alfred Prestwich · 1899

Aspect ratio not documented

Details

Camera: 13 mm / – / – / – / spherical

Projection: 13 mm / – / – / spherical

First work: unknown (amateur format)
Mirograph

Developer: Reulos, Goudeau & Co · 1900

Aspect ratio not documented

Details

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

Projection: 21 mm / – / – / spherical

First work: unknown (amateur format)
Lumière Wide

Developer: Lumière Brothers · 1900

1.33:1
1.33:1 · camera

Details

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

Projection: 75 mm / 1.33 / – / spherical
Cinéorama

Developer: R. Grimoin-Sanson · 1900

360° – topology diagram

Details

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

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

First work: Cinéorama
La Petite (Hughes)

Developer: W.C. Hughes · 1900

1.6:1 · camera

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)
Pocket Chrono

Developer: Gaumont Demeny · 1900

Aspect ratio not documented

Details

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

Projection: 15 mm / – / – / spherical

First work: unknown (amateur format)
Vitak

Developer: William Wardell · 1902

Aspect ratio not documented

Details

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

Projection: 11 mm / – / – / spherical

First work: unknown (amateur format)
Home Kinetoscope

Developer: Edison · 1912

1.5:1

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)
Pathé Kok

Developer: Pathé · 1912

1.36:1 · camera

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)
Duoscope

Developer: Alexander F. Victor · 1912

Aspect ratio not documented

Details

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

Projection: 17.5 mm / – / – / spherical

First work: unknown (amateur format)
Panoramico

Developer: Filoteo Alberini · 1914

2.52:1 · camera

Details

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

Projection: 70 mm / – / – / spherical

First work: Il sacco di Roma
Split Duplex

Developer: Duplex Corporation · 1915

1.87:1
1.33:1 · camera

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)
11 mm

Developer: Creator not documented – American · 1916

Aspect ratio not documented

Details

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

Projection: 11 mm / – / – / spherical

First work: unknown (amateur format)
Movette

Developer: Movette Camera Company · 1917

Aspect ratio not documented

Details

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

Projection: 17.5 mm / – / – / spherical

First work: unknown (amateur format)
28 mm safety standard

Developer: Alexander F. Victor · 1918

1.36:1 · camera

Details

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

Projection: 28 mm / – / – / spherical

First work: unknown (amateur format)
Clou

Developer: Creator not documented – Austrian · 1920

Aspect ratio not documented

Details

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

Projection: 17.5 mm / – / – / spherical

First work: unknown (amateur format)
26 mm

Developer: Creator not documented – French · 1920

Aspect ratio not documented

Details

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

Projection: 26 mm / – / – / spherical

First work: unknown (amateur format)
9.5 mm

Developer: Pathé · 1922

1.31:1
1.31:1 · camera

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)
Phonofilm

Developer: Lee De Forest · 1922

1.17:1
1.33:1 · camera

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
Widescope

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

2.66:1
1.33:1 · camera

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
Cinebloc

Developer: Ozaphan · 1922

Aspect ratio not documented

Details

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

Projection: 22 mm / – / – / spherical

First work: unknown (amateur format)
Tri-Ergon soundfilm

Developer: Tri-Ergon · 1922

1.33:1
1.33:1 · camera

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
16 mm

Developer: Eastman Kodak · 1923

1.37:1
1.37:1 · camera

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)
Duplex

Developer: G.J. Bradley · 1923

Aspect ratio not documented

Details

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

Projection: 11.5 mm / – / – / spherical

First work: unknown (amateur format)
Alberini-Hill

Developer: Corrado Cerqua · 1924

1.66:1 · camera

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
Cinelux

Developer: Ozaphan · 1924

Aspect ratio not documented

Details

Camera: 24 mm / – / – / – / spherical

Projection: 24 mm / – / – / spherical

First work: unknown (amateur format)
48 mm

Developer: J.H. Powrie · 1924

1.33:1
1.32:1 · camera

Details

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

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

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

2:1
1.84:1 · camera

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
13 mm

Developer: Creator not documented – French · 1925

Aspect ratio not documented

Details

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

Projection: 13 mm / – / – / spherical

First work: unknown (amateur format)
18 mm

Developer: Creator not documented – Russian · 1925

Aspect ratio not documented

Details

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

Projection: 18 mm / – / – / spherical

First work: unknown (amateur format)
Pathé Rural

Developer: Pathé · 1926

1.33:1
1.26:1
1.35:1 · camera
1.3:1 · camera

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)
Widevision

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

Aspect ratio not documented

Details

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

Projection: 57 mm / – / – / spherical

First work: Natural Vision Pictures
Magnascope

Developer: Lorenzo del Riccio · 1926

1.33:1
1.33:1 · camera

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
Fox Movietone

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

1.17:1
1.33:1 · camera

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
Polyvision

Developer: Abel Gance · 1927

4:1
1.33:1 · camera

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
Hypergonar

Developer: Henri Chrétien · 1927

2.66:1
2.66:1 · camera

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
Magnafilm

Developer: Lorenzo del Riccio · 1929

2:1
2.19:1 · camera

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
Fox Grandeur

Developer: Fox Film Corporation · 1929

2:1
2.07:1 · camera

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
Fearless Super Pictures

Developer: Ralph G. Fear · 1929

2.27:1 · camera

Details

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

Projection: 35 mm, horizontal / – / – / spherical
Fearless Super-Film / Magnifilm / Fox Vitascope

Developer: Ralph G. Fear · 1930

2.05:1
2:1 · camera

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
Realife

Developer: MGM · 1930

1.75:1
2.07:1 · camera

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
50 mm

Developer: Fox Film Corporation & SMPE · 1930

1.8:1
1.8:1 · camera

Details

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

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

Developer: Creator not documented – French · 1930

Aspect ratio not documented

Details

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

Projection: 17 mm / – / – / spherical

First work: unknown (amateur format)
Giant Expanding Pictures

Developer: George Palmer · 1930

1.17:1
1.33:1 · camera

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)
Kodel Kemco Homovie

Developer: Clarence Ogden · 1931

Aspect ratio not documented

Details

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

Projection: 16 mm / – / – / spherical

First work: unknown (amateur format)
Academy format

Developer: AMPAS · 1932

1.37:1
1.375:1 · camera
1.37:1 · camera
1.375:1 – projection-aperture-derived

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.
8 mm

Developer: Eastman Kodak · 1932

1.33:1
1.32:1 · camera

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)
Straight 8

Developer: Bell & Howell · 1935

1.33:1
1.32:1 · camera

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)
Vitarama

Developer: Fred Waller · 1939

hemispherical view – topology diagram
1.37:1 · camera

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
Waller Flexible Gunnery Trainer

Developer: Fred Waller · 1943

hemispherical view – topology diagram
1.37:1 · camera

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
Cinerama

Developer: Fred Waller · 1952

2.59:1
2.59:1 – composite of 3 negatives

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.
Matted 1.66

Developer: Paramount · 1953

1.66:1
1.37:1 · camera

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
Matted 1.85

Developer: Universal · 1953

1.85:1
1.37:1 · camera

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
Matted 1.75

Developer: MGM · 1953

1.75:1
1.37:1 · camera

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
Cinemascope

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

2.55:1
2.35:1
2.55:1 · camera
2.35:1 · camera
2.66:1 – 1953 demonstration

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.
Arnoldscope

Developer: John Arnold · 1953

Aspect ratio not documented

Details

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

Projection: – / – / – / –
VistaVision

Developer: Paramount · 1954

1.85:1
1.51:1 · camera
1.33:1 – permitted Paramount presentation
1.66:1 – permitted Paramount presentation
2:1 – permitted Paramount presentation

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.
VistaVision Large Area

Developer: Paramount · 1954

1.96:1
1.51:1 · camera

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
Superscope

Developer: Tushinsky Brothers · 1954

2:1
1.33:1 · camera

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
Circarama

Developer: Disney · 1955

360° – topology diagram
1.37:1 · camera

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
Todd-AO

Developer: Michael Todd · 1955

2.21:1
2.29:1 · camera

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
CinemaScope 55

Developer: 20th Century Fox · 1955

2.55:1
2.55:1 · camera

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
9.5 Duplex

Developer: Pathé Frères · 1955

1.51:1 · camera

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: ?
8 mm Panoramic

Developer: Dimaphot, Paris · 1955

1.5:1 · camera

Details

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

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

First work: ?
Emel Panoscope

Developer: Emel, Paris · 1955

2.7:1 · camera

Details

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

Projection: 16 mm / – / – / spherical

First work: ?
Technirama

Developer: Technicolor · 1956

2.35:1
2.26:1 · camera

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
Technirama Large Area

Developer: Technicolor · 1956

2.42:1
2.26:1 · camera

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
Dynamic Frame

Developer: Glenn Alvey · 1956

1.3:1
1.5:1
2.5:1
1.3:1 · camera
1.6:1 · camera
2.5:1 · camera

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
Superscope 235

Developer: Superscope Inc. · 1956

2.35:1
1.33:1 · camera

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
Thrillarama

Developer: Albert H. Reynolds · 1956

3.55:1
1.78:1 · camera

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.
Magirama

Developer: Abel Gance · 1956

4:1
1.33:1 · camera

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
MGM Camera 65

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

2.76:1
2.76:1 · camera

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.
Ultra Panavision

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

2.76:1
2.76:1 · camera

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
Cinestage

Developer: Mike Todd · 1957

2.12:1
2.29:1 · camera

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
Rank VistaVision

Developer: J. Arthur Rank Organization · 1957

1.82:1
1.51:1 · camera

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
Modern anamorphic

Developer: Panavision · 1958

2.35:1
2.39:1
2.37:1 · camera

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
Kinopanorama

Developer: NIKFI · 1958

2.72:1
0.91:1 · camera

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
70 mm

Developer: American Optical Company · 1958

2.21:1
2.28:1 · camera

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
Cinemiracle

Developer: National Theatres · 1958

2.59:1
0.89:1 · camera

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
Super Technirama

Developer: Technicolor · 1959

2.21:1
2.26:1 · camera

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
Smith-Carney System

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

4.69:1
4.69:1 · camera

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
Circular Kinopanorama / Circlorama

Developer: E. Goldovsky · 1959

360° – topology diagram
1.37:1 · camera

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
Varioscope

Developer: Jan Jacobsen · 1959

2.28:1 · camera

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
Quadravision

Developer: Ford Motor Company · 1959

4 images in 2 × 2 arrangement – ratios not documented

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
Techniscope

Developer: Technicolor · 1960

2.39:1
2.33:1 · camera

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
Wonderama (Arc 120)

Developer: Leon W. Wells · 1960

2.5:1

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
Cine System 3

Developer: Eric Berndt · 1960

Aspect ratio not documented

Details

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

Projection: – / – / – / –

First work: USAF and NASA usage
Grandeur 70

Developer: 20th Century Fox · 1961

2.21:1
2.55:1 · camera

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)
Cinerama 360

Developer: Cinerama Corporation · 1962

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

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
Super 8

Developer: Eastman Kodak · 1965

1.36:1
1.48:1 · camera

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)
Real Sound

Developer: Kenner · 1965

1.33:1

Details

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

Projection: 11.5 mm / 1.33 / 0.172" × 0.129" / spherical
Double Super 8

Developer: Eastman Kodak · 1965

1.36:1
1.48:1 · camera

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)
Single-8

Developer: Fujifilm · 1966

1.35:1
1.36:1 · camera

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)
Dimension 150

Developer: American Optical Company · 1966

2.21:1
2.28:1 · camera

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
Circle Vision 360

Developer: Disney · 1967

360° – topology diagram
1.37:1 · camera

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
8.75 mm

Developer: Shanghai Film Projection Equipment Factory · 1968

Aspect ratio not documented

Details

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

Projection: 8.75 mm / – / – / spherical

First work: unknown (amateur format)
Astrovision

Developer: Goto Optical · 1969

Dome projection – topology diagram

Details

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

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

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

1.43:1 – IMAX 70mm presentation
1.34:1 · camera
1.31:1 – reference aperture; historical transcription

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.
Super 16 mm film

Developer: Rune Ericson · 1970

1.66:1 · camera

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
Pik-a-Movie

Developer: Leon W. Wells · 1972

1.48:1

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
OMNIMAX

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

Dome projection – topology diagram
1.31:1 – reference projector aperture
1.34:1 · camera

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
8/70 (Dynavision, Iwerks 870)

Developer: Dynavision · 1973?

1.34:1
1.37:1 · camera

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
Showscan

Developer: Douglas Trumbull · 1978

2.21:1
2.28:1 · camera

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
Polavision

Developer: Polaroid Corporation · 1978

1.36:1
1.48:1 · camera

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)
Cinema 180

Developer: Omni Films · 1979

180°, on a dome – topology diagram
2.28:1 · camera

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
Super 35

Developer: Joe Dunton · 1982

1.33:1 · camera

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
Circle Vision 200

Developer: Disney · 1982

6.85:1
1.37:1 · camera

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
Swissorama 360 / Imagine 360

Developer: Ernst A. Heiniger · 1984

360° – topology diagram

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.
Super Duper 8 / Max 8 / Super 8B

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

1.51:1 · camera

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)
3-perf

Developer: Rune Ericson · 1987

1.79:1 · camera

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
Super VistaVision

Developer: Paramount · 1989

2.21:1
1.51:1 · camera

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)
Kinoton HDFS

Developer: Kinoton · 1990

2:1

Details

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

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

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

Two screens – one in front, one below
1.34:1 · camera

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
Iwerksphere

Developer: Iwerks · 1991

1.34:1
1.37:1 · camera

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
IMAX HD

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

1.31:1
1.34:1 · camera

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
Hexiplex

Developer: Creator not documented – Australian · 1992

360°, with rotating screens and projectors – topology diagram
1.37:1 · camera

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
Ultra Toruscope

Developer: Mac McCarney · 1992

360° – topology diagram
1.37:1 · camera

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
Imagination FX 7012

Developer: Geo-Odyssey · 1992?

2.21:1
2.08:1 · camera

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
Univisium

Developer: Vittorio Storaro and Fabrizio Storaro · 1998

2:1
2:1 · camera

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.
Maxivision

Developer: Dean Goodhill · 1999

1.85:1
1.79:1 · camera

Details

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

Projection: 35 mm, 3 perf / 1.85 / – / spherical
Maxivision 48

Developer: Dean Goodhill · 1999

1.85:1
1.79:1 · camera

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
Super Dimension 70

Developer: Robert Weisgerber · 1999

2.21:1
2.28:1 · camera

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
FuturVision 360

Developer: Creator not documented · Date not documented

1.47:1
1.52:1 · camera

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
Mini-Max

Developer: Vistascope · Date not documented

2.66:1
2.66:1 · camera

Details

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

Projection: 35 mm / 2.66 / – / spherical
MotionMaster

Developer: Omni Films · Date not documented

2.21:1
2.28:1 · camera

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
Row-film

Developer: R. Thun · Date not documented

Aspect ratio not documented

Details

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

Projection: – / – / – / spherical
Septorama

Developer: Creator not documented · Date not documented

hemispherical view – topology diagram
1.33:1 · camera

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.
Single Cinerama

Developer: Fred Waller · Date not documented

Aspect ratio not documented

Details

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

Projection: 35 mm, horizontal / curved screen / – / spherical
Soviet 10

Developer: Creator not documented · Date not documented

2.09:1

Details

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

Projection: 70 mm / 2.09 / 1.890" × 1.811" / 2× anamorphic
Vario-35

Developer: Creator not documented · Date not documented

1.84:1 · variable
1.35:1 · variable
1:1 · variable
0.75:1 · variable

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
Vario-35A

Developer: Creator not documented · Date not documented

2.35:1 · variable
1.85:1 · variable
1.37:1 · variable
1:1 · variable
0.75:1 · variable
0.59:1 · variable

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)
Vario-70

Developer: Creator not documented · Date not documented

2.35:1 · variable
1.85:1 · variable
1.37:1 · variable
1:1 · variable
0.74:1 · variable
0.59:1 · variable
0.46:1 · variable

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
Acres 70

Original attribution: Birt Acres · 1894

1.38:1 – my own research

Details

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

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.
Display timing 640 × 350

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

64:35 – square-pixel raster

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.
Display timing 640 × 400

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

8:5 – square-pixel raster

Details [17]

Raster: 640 × 400
Display timing 640 × 480

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

4:3 – square-pixel raster

Details [17]

Raster: 640 × 480
Display timing 720 × 400

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

9:5 – square-pixel raster

Details [17]

Raster: 720 × 400
Display timing 800 × 600

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

4:3 – square-pixel raster

Details [17]

Raster: 800 × 600
Display timing 848 × 480

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

53:30 – square-pixel raster

Details [17]

Raster: 848 × 480
Display timing 1024 × 768

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

4:3 – square-pixel raster

Details [17]

Raster: 1024 × 768
Display timing 1152 × 864

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

4:3 – square-pixel raster

Details [17]

Raster: 1152 × 864
Display timing 1280 × 768

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

5:3 – square-pixel raster

Details [17]

Raster: 1280 × 768
Display timing 1280 × 800

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

8:5 – square-pixel raster

Details [17]

Raster: 1280 × 800
Display timing 1280 × 960

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

4:3 – square-pixel raster

Details [17]

Raster: 1280 × 960
Display timing 1280 × 1024

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

5:4 – square-pixel raster

Details [17]

Raster: 1280 × 1024
Display timing 1360 × 768

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

85:48 – square-pixel raster

Details [17]

Raster: 1360 × 768
Display timing 1400 × 1050

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

4:3 – square-pixel raster

Details [17]

Raster: 1400 × 1050
Display timing 1440 × 900

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

8:5 – square-pixel raster

Details [17]

Raster: 1440 × 900
Display timing 1600 × 1200

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

4:3 – square-pixel raster

Details [17]

Raster: 1600 × 1200
Display timing 1680 × 1050

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

8:5 – square-pixel raster

Details [17]

Raster: 1680 × 1050
Display timing 1792 × 1344

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

4:3 – square-pixel raster

Details [17]

Raster: 1792 × 1344
Display timing 1856 × 1392

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

4:3 – square-pixel raster

Details [17]

Raster: 1856 × 1392
Display timing 1920 × 1200

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

8:5 – square-pixel raster

Details [17]

Raster: 1920 × 1200
Display timing 1920 × 1440

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

4:3 – square-pixel raster

Details [17]

Raster: 1920 × 1440
Display timing 2560 × 1600

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

8:5 – square-pixel raster

Details [17]

Raster: 2560 × 1600
SD digital television · 480 lines · 4:3

Standard publisher: ITU-R · BT.601

4:3 – display

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.
SD digital television · 480 lines · 16:9

Standard publisher: ITU-R · BT.601

16:9 – display

Details [18]

Raster: 720 × 480
SD digital television · 576 lines · 4:3

Standard publisher: ITU-R · BT.601

4:3 – display

Details [18]

Raster: 720 × 576
SD digital television · 576 lines · 16:9

Standard publisher: ITU-R · BT.601

16:9 – display

Details [18]

Raster: 720 × 576
HD 720

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

16:9 – display

Details [19]

Raster: 1280 × 720
HD 1080

Standard publisher: ITU-R · BT.709

16:9 – display

Details [20]

Raster: 1920 × 1080
UHD 4K

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

16:9 – square pixels

Details [21]

Raster: 3840 × 2160
UHD 8K

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

16:9 – square pixels

Details [21]

Raster: 7680 × 4320
Digital cinema 2K – Flat

Standard publisher: DCI / SMPTE / ISDCF · Digital cinema

1.850000:1 – active raster

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.
Digital cinema 2K – Scope

Standard publisher: DCI / SMPTE / ISDCF · Digital cinema

2.386946:1 – active raster

Details [22]

Raster: 2048 × 858
Digital cinema 2K – Full container

Standard publisher: DCI / SMPTE / ISDCF · Digital cinema

1.896296:1 – container

Details [22]

Raster: 2048 × 1080
Digital cinema 4K – Flat

Standard publisher: DCI / SMPTE / ISDCF · Digital cinema

1.850000:1 – active raster

Details [22]

Raster: 3996 × 2160
Digital cinema 4K – Scope

Standard publisher: DCI / SMPTE / ISDCF · Digital cinema

2.386946:1 – active raster

Details [22]

Raster: 4096 × 1716
Digital cinema 4K – Full container

Standard publisher: DCI / SMPTE / ISDCF · Digital cinema

1.896296:1 – container

Details [22]

Raster: 4096 × 2160
IMAX digital presentation

Developer: IMAX Corporation · Digital IMAX

1.90:1 – presentation

Details [10]
Odyssey G9 DQHD

Manufacturer: Samsung Electronics · 2020

32:9 – display

Details [23]

Raster: 5120 × 1440

A curved 1000R monitor; this rectangle represents its pixel raster, not a curvature measurement.
iPhone 5 display

Manufacturer: Apple · 2012

40:71 – portrait display

Details [24]

Raster: 640 × 1136

The exact raster differs slightly from ideal 9:16.

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.