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70 mm film (or 65 mm film) is a wide high-resolution film gauge for motion picture photography, with a negative area nearly 3.5 times as large as the standard 35 mm motion picture film format. [1] As used in cameras, the film is 65 mm (2.6 in) wide. For projection, the original 65 mm film is printed on 70 mm (2.8 in) film.
The following movies were filmed using 65mm or 70mm negative stock. Titles are followed by the photographic process(es) employed. Releases produced in Todd-AO, Todd-70, Super Panavision 70 (also known as Panavision 70), Panavision System 65 (also known as Panavision Super 70), Dimension 150, Arri 765 and Superpanorama 70 (also known as MClS 70 and MCS Superpanorama 70) were photographed with ...
For positive and print stocks, "35" indicates 35 mm print film, and "36" indicates 16 mm print film. Fuji also introduced their Reala film, a color stock with a fourth color emulsion layer, which is also the fastest daylight balanced color motion picture stock ever offered at 500 ISO.
During the late 1950s, the Hollywood filmmaking community decided that changing from filming in the commonly accepted 35 mm format to 65 mm film would provide viewing audiences with an enhanced visual experience, compared to an anamorphic widescreen image. To this end, cameras began to be designed to handle 65 mm film stock.
The cinematographer took on the ambitious task of capturing an atomic bomb explosion for “Oppenheimer” without the use of VFX all while shooting in IMAX and large format 65mm film stock.
The camera negative is actually 65 mm film stock, but it runs horizontally and with 15 perforations per frame. [40] The camera, like the projector, has a vacuum system; this makes the camera noisy, forbidding the sync-sound recording of quiet scenes. The camera has enough film for three minutes of shooting.
Eastman Kodak used the Bell and Howell machine to perforate its films. In 1909, Edison's organization of the Motion Picture Patents Trust agreed to what would become the standard: 35 mm gauge, with Edison perforations and a 1.33 aspect ratio. [4] A silent home movie on 16mm black-and-white reversal double-perforation film stock
65 mm 10 perf, 2 sides spherical or fish-eye 70 mm fish-eye (dome projection) IMAX [50] IMAX Corporation: 1970 Tiger Child: 65 mm 1.34 2.772" × 2.072" 15 perf, 2 sides, horizontally spherical 70 mm, horizontal 1.31 2.692" × 2.056" spherical Super 16 mm film [7] Rune Ericson: 1970 Blushing Charlie: 16 mm 1.66 0.493" × 0.292" 1 perf, 1 side ...