The following movies were filmed using the 65/70 mm format. Titles are
followed by the photographic process(es) employed.
* 1 Early 70 mm releases
* 2 Standard 65/70 mm releases
* 3 Films partially shot in 65 mm
* 4 See also
Early 70 mm releases
These early wide film processes employed a number of different frame
sizes and perforations per frame.
* Danger Lights (1930) - Natural Vision; also shot simultaneously in 35 mm
* Happy Days (1930) - Grandeur; also shot simultaneously in 35 mm
* Song O' My Heart (1930) - Grandeur; exhibited only in 35 mm
* The Big Trail (1930) - Grandeur; also shot simultaneously in 35 mm
* Kismet (1930) - Vitascope
* A Soldier's Plaything (1930) - Vitascope; exhibited only in 35 mm
* The Lash (1930) - Vitascope; also shot simultaneously in 35 mm
* The Bat Whispers (1930) - Magnifilm; exhibited only in 35 mm
* Billy the Kid (1930) - Realife; exhibited only in 35 mm
* The Great Meadow (1931) - Realife; exhibited only in 35 mm
Standard 65/70 mm releases
Releases produced in Todd-AO, Todd-70, Super Panavision 70, Dimension
150, Panavision System 65 and Arri 765 were photographed with
spherical optics on 65 mm film with five perforations per frame,
yielding an aspect ratio of 2.20:1. Theater prints were 70 mm wide,
with the extra space used to accommodate the magnetic soundtracks.
MGM Camera 65 and Ultra Panavision 70 releases employed the same film
format, but the use of 1.25X anamorphic optics yielded a super-wide
aspect ratio of approximately 2.75:1.
70 mm Cinerama releases were projected with special optics onto a
deeply-curved screen in an attempt to mimic the effect of the original
3-strip Cinerama process.
Nearly all of these releases employed six-channel stereophonic sound:
five full-range channels (left, left-center, center, right-center and
right) arrayed behind the screen, with the sixth channel providing
surround effects.
Premiere engagements of Scent of Mystery and its companion short The
Tale of Old Whiff (both 1960) were presented in Todd-Belock 8-channel
Sound, which used a control signal to "steer" the single surround
channel to different parts of the auditorium. These films also
featured Smell-O-Vision!, which delivered synchronized puffs of
scented air to the audience via a network of tubing installed in the
auditorium.
The 1982 short Symbiosis employed an unusual 12-channel sound system
designed for the special Epcot Center theater in which it was shown.
Far and Away (1992), Baraka (1992) and Hamlet (1996) employed a
modified arrangement of speakers, with left, center and right channels
behind the screen, left and right surround channels and a
low-frequency effects channel.
This list does not include any of the dozens of 35 mm films which have
been optically enlarged to 70 mm for deluxe exhibition, including such
titles as Logan's Run, Jesus Christ Superstar and Akira.
* Oklahoma! (1955) - Todd-AO @ 30 frame/s; this production also
shot in 35 mm CinemaScope @ 24 frame/s
* The Miracle of Todd-AO (1956) - Todd-AO @ 30 frame/s; short subject
* Around the World in Eighty Days (1956) - Todd-AO; reportedly
shot with two 65 mm cameras running at 30 and 24 frame/s, respectively
* Raintree County (1956) - MGM Camera 65; exhibited only in 35 mm
CinemaScope
* South Pacific (1958) - Todd-AO
* The March of Todd-AO (1958) - Todd-AO; short subject
* Ben-Hur (1959) - MGM Camera 65
* Porgy and Bess (1959) - Todd-AO
* The Big Fisherman (1959) - Super Panavision 70
* The Tale of Old Whiff (1960) - Todd-70 and Smell-O-Vision; short subject
* Scent of Mystery (1960) - aka Holiday in Spain; Todd-70 and Smell-O-Vision
* Can-Can (1960) - Todd-AO
* The Alamo (1960) - Todd-AO
* Exodus (1960) - Super Panavision 70
* West Side Story (1961) - Super Panavision 70
* Lawrence of Arabia (1962) - Super Panavision 70
* Mutiny on the Bounty (1962) - Ultra Panavision 70
* It's a Mad, Mad, Mad, Mad World (1963) - Ultra Panavision 70;
presented in 70 mm Cinerama
* Cleopatra (1963) - Todd-AO
* Man in the 5th Dimension (1964) - Todd-AO; NYC World's Fair short subject
* The Fall of the Roman Empire (1964) - Ultra Panavision 70
* My Fair Lady (1964) - Super Panavision 70
* Cheyenne Autumn (1964) - Super Panavision 70
* The Sound of Music (1965) - Todd-AO
* Those Magnificent Men in Their Flying Machines (1965) - Todd-AO
* The Agony and the Ecstasy (1965) - Todd-AO
* The Greatest Story Ever Told (1965) - Ultra Panavision 70;
presented in 70 mm Cinerama
* The Hallelujah Trail (1965) - Ultra Panavision 70; presented in
70 mm Cinerama
* Battle of the Bulge (1965) - Ultra Panavision 70; presented in
70 mm Cinerama
* Lord Jim (1965) - Super Panavision 70
* Khartoum (1966) - Ultra Panavision 70; presented in 70 mm Cinerama
* Grand Prix (1966) - Super Panavision 70; presented in 70 mm Cinerama
* The Bible: In The Beginning (1966) - Dimension 150
* Doctor Dolittle (1967) - Todd-AO
* Playtime (1967) - filmed with a 65mm Mitchell camera; presented
in a non-standard aspect ratio of approximately 1.8:1
* 2001: A Space Odyssey (1968) - Super Panavision 70; presented in
70 mm Cinerama
* Ice Station Zebra (1968) - Super Panavision 70; presented in 70
mm Cinerama
* Star! (1968) - Todd-AO
* Chitty Chitty Bang Bang (1968) - Super Panavision 70
* Hello, Dolly! (1969) - Todd-AO
* Krakatoa, East of Java (1969) - Todd-AO; presented in 70 mm Cinerama
* Mackenna's Gold (1969) - Super Panavision 70
* Airport (1970) - Todd-AO
* Patton (1970) - Dimension 150
* Ryan's Daughter (1970) - Super Panavision 70
* Song of Norway (1970) - Super Panavision 70; advertised as "On
the Cinerama screen" in some countries
* The Last Valley (1971) - Todd-AO
* Symbiosis (1982) - Super Panavision 70 @ 30 frame/s; Disney
Epcot short subject
* Auto-E-Motion (1984) - BMW promotional short subject
* A Year Along the Abandoned Road (1991) - Norwegian short film
* Far and Away (1992) - Panavision System 65; segments in Arri 765
* Baraka (1993) - Todd-AO
* Tour Eiffel (1994) - Arri 765; short subject
* Hamlet (1996) - Panavision System 65; segments in Arri 765
Films partially shot in 65 mm
* The Horsemen (1971) - Super Panavision 70
* Close Encounters of the Third Kind (1977) - special effects
shots only; early promotional material erroneously suggested that the
entire film was produced in Super Panavision 70
* The Empire Strikes Back (1980) - selected special effects work
* Tron (1982) - live-action scenes and partial-CGI scenes only;
entirely-CGI shots filmed in VistaVision
* Brainstorm (1983) virtual reality sequences only
* Little Buddha (1993) - Arri 765, Buddha flashback scenes only
* Contact (1997) - background plates
* Spider-Man 2 (2004) - selected special effects shots only
* The New World (2005) - "hyper-reality" scenes only
* Stephen Hawking's Beyond the Horizon (2007) - Arri 765; dialogue
scenes only
* Sunshine (2007) - rear projection process work
70 mm films, 70 mm,films
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