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 spherical optics on 65 mm film with five perforations per frame, yielding an aspect ratio of 2.20:1.
Sovscope 70 and DEFA 70 releases were identical with the exception that they were photographed on 70 mm negative stock.
MGM Camera 65 (later renamed to 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.
Hi Fi Stereo 70 (also known as Triarama and Stereovision 70) was a 3-D process. Two anamorphic images, one for each eye, were captured side by side on 65 mm film. A special lens on a 70 mm projector added polarization and merged the two images on the screen. A similar Soviet system known as Stereo 70 did not employ anamorphics, resulting in an aspect ratio of 1.37:1.
Stereospace 2000 (a 3D process) and Kodak-Disney 3D used dual 65 mm cameras operating at 30fps.
Standard 70 mm theater prints were 70 mm wide, with the extra space used to accommodate the 6-channel magnetic soundtracks, consisting of five full-range channels (left, left-center, center, right-center and right) arrayed behind the screen, with the sixth channel providing surround effects.
Far and Away (1992), Baraka (1992) and Hamlet (1996) employed a modified arrangement of speakers, with left, centre and right channels behind the screen, left and right surround channels and a low-frequency effects channel. More recent 70 mm releases (including The Hateful Eight) have used standard 5.1 DTS sound.
This list does not include any of the hundreds of 35 mm films which have been optically enlarged to 70 mm for deluxe exhibition, including such titles as Star Wars, Raiders of the Lost Ark, and Ghostbusters.
Also not included are 70 mm releases which originated on horizontal 35 mm negative such as Vistavision and Technirama (see List of Technirama films), nor films made in the Showscan process. For films shot in the IMAX 70mm format, see List of IMAX films.
American 65/70 mm films Oklahoma! (1955) – Todd-AO @ 30 frame/s; this production also shot in 35 mm CinemaScope @ 24 frame/s Around the World in 80 Days (1956) – Todd-AO; shot twice, with cameras running at 30 and 24 frame/s, respectively Raintree County (1957) – MGM Camera 65; exhibited only in 35 mm CinemaScope since all the 70 mm cinemas were booked South Pacific (1958) – Todd-AO Ben-Hur (1959) – MGM Camera 65 Porgy and Bess (1959) – Todd-AO The Big Fisherman (1959) – Super Panavision 70 Scent of Mystery (1960) – Todd-70 and Smell-O-Vision. Todd-Belock 8-channel Sound, which used a control signal to "steer" the single surround channel to three surround tracks (right wall, left wall and rear wall). This title was later re-edited, optically converted to 3-strip Cinemiracle and re-released without the odors as Holiday in Spain in 1961. It was exhibited in both Cinerama and Cinemiracle. Can-Can (1960) – Todd-AO The Alamo (1960) – Todd-AO Exodus (1960) – Super Panavision 70 West Side Story (1961) – Panavision 70 Mutiny on the Bounty (1962) – Ultra Panavision 70 It's a Mad, Mad, Mad, Mad World (1963) – Ultra Panavision 70; shown in 70 mm Cinerama Cleopatra (1963) – Todd-AO (shooting started in CinemaScope, changed to 3-panel Cinerama and finally to Todd-AO. The anamorphic and 3-panel footage was discarded.) 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 (second unit photography [aerial shots] in Superpanorama 70) Those Magnificent Men in Their Flying Machines (1965) – Todd-AO (some scenes in Superpanorama 70) The Agony and the Ecstasy (1965) – Todd-AO The Greatest Story Ever Told (1965) – Ultra Panavision 70; shown in 70 mm Cinerama The Hallelujah Trail (1965) – Ultra Panavision 70; shown in 70 mm Cinerama Battle of the Bulge (1965) – Ultra Panavision 70; shown in 70 mm Cinerama Lord Jim (1965) – Super Panavision 70 Khartoum (1966) – Ultra Panavision 70; shown in 70 mm Cinerama Grand Prix (1966) – Super Panavision 70 (some scenes in Superpanorama 70); shown in 70 mm Cinerama The Bible: In The Beginning (1966) – Dimension 150 (credited as D-150) Doctor Dolittle (1967) – Todd-AO 2001: A Space Odyssey (1968) – Super Panavision 70; some shots in Todd-AO; aerial shots from the stargate sequence in Superpanorama 70. Shown in 70 mm Cinerama Ice Station Zebra (1968) – Super Panavision 70 (shooting started in Ultra Panavision 70 then switched to Super Panavision 70); shown in 70 mm Cinerama Star! (1968) – Todd-AO Hello, Dolly! (1969) – Todd-AO Krakatoa, East of Java (1969) – Todd-AO and Super Panavision 70 shown in 70 mm Cinerama Airport (1970) – Todd-AO Patton (1970) – Dimension 150 Song of Norway (1970) – Super Panavision 70, shown in 70 mm Cinerama, advertised as "On the Cinerama screen" in some countries The Last Valley (1970) – Todd-AO (made for 70 mm Cinerama, but never shown in that format) Tron (1982) – Super Panavision 70. Live-action all filmed in color 65mm; CGI sequences filmed in 65mm B&W and composited to a VistaVision intermediate then optically printed back to 70mm IP. Far and Away (1992) – Panavision System 65; segments in Arri 765 and VistaVision Baraka (1992) – Todd-AO, documentary Hamlet (1996) – Panavision System 65; segments in Arri 765 Samsara (2011) – Panavision System 65, documentary (no 70mm prints produced) The Hateful Eight (2015) - Ultra Panavision 70 (the first 70mm Cinerama release since 1970) The Odyssey (2026) – IMAX Keighley and IMAX MSM 9802; Panavision Sphero 65 and Hasselblad Lenses; first movie to be shot entirely with IMAX cameras
Other countries Lawrence of Arabia (United Kingdom 1962) – Super Panavision 70 Flying Clipper – Traumreise unter weissen Segeln (West Germany 1962) – Superpanorama 70. A re-edited version was shown as Mediterranean Holiday (1964) in 70 mm Cinerama and in Wonderama in the USA Shéhérazade (France/Spain/Italy 1963) – Superpanorama 70 La Tulipe noire/The Black Tulip (France/Italy/Spain 1964) – Superpanorama 70; shown in 70 mm Cinerama Old Shatterhand (West Germany/Yugoslavia/France/Italy 1964) – Superpanorama 70 Uncle Tom's Cabin/Onkel Toms Hütte /La Case de l'Oncle Tom (France/Italy/West Germany/Yugoslavia 1965) – Superpanorama 70 Congress of Love/Der Kongress amüsiert sich/Le Congrès s'amuse (West Germany/Austria/France 1966) – Superpanorama 70 Dr. Coppelius/El Fantástico Mundo del Dr Coppelius (Spain/US 1966) – Superpanorama 70 Savage Pampas/Pampa Salvaje (Spain/Argentina/US 1966) – Superpanorama 70 Play Time (France 1967) – filmed with 65 mm Mitchell cameras, with an aperture masked for a non-standard aspect ratio of approximately 1.7:1 Con la muerte a la espalda/With Death On Your Back (Spain/France/Italy 1967) – Hi-Fi Stereo 70 La Marca del Hombre Lobo (Spain 1968) – Hi Fi Stereo 70. Re-edited with new footage and released in the US in 35 mm 3D as Frankenstein's Bloody Terror. Chitty Chitty Bang Bang (United Kingdom & USA 1968) – Super Panavision 70 Ryan's Daughter (United Kingdom 1970) – Super Panavision 70 Liebe in drei Dimensionen/Love in 3D (West Germany 1973) – Triarama Akira (Japan 1988) - Animated in 1.85:1 and photographed in 65mm. Map of the Human Heart (Australia/United Kingdom 1993) – Panavision System 65. Released in 35mm only. As Wonderland Goes By (Australia/Bulgaria 2012) - Panavision System 65 Death on the Nile (United Kingdom & USA 2022) - Panavision System 65
70mm releases from 3-strip negative To Be Alive! (1964) converted from 3 x 35mm to Ultra Panavision Cinerama's Russian Adventure (1966) optically converted from Kinopanorama to 70 mm Cinerama This Is Cinerama (1972) – optically converted from Cinerama to 70 mm Cinerama
List of Short Subjects The Miracle of Todd-AO (USA 1956) – Todd-AO @ 30 frame/s The March of Todd-AO (USA 1958) – Todd-AO The Tale of Old Whiff (USA 1960) – Todd-70 and Smell-O-Vision. Released with Scent of Mystery. Todd-Belock 8-channel Sound, which used a control signal to "steer" the single surround channel to three surround tracks (right wall, left wall and rear wall). Man in the 5th Dimension (USA 1964) – Todd-AO. Shown at NYC World's Fair. Fortress of Peace (Switzerland 1964) – Superpanorama 70 The Artist Who Did Not Want To Paint (USA 1964) – Todd-AO. Prologue to The Agony and the Ecstasy. Delifini prikhodyat k lyudyam/Dolphins Come to the People (Soviet 1966) – Kinopanorama 70. 20m short, optically converted to 3-strip Kinopanorama. Defa 70 (East Germany 1967) – DEFA-70 demo film Sky over Holland (Netherlands 1967) – Superpanorama 70 A Place to Stand (Canada 1967). Produced for the Ontario Pavilion at Expo 67 in Montreal. Winner of the Best Live Action Short Subject Oscar at the 1968 Academy Awards. Multiple Man (Canada 1968) Where the North Begins (Canada 1971) Festival (Canada 1971) Seasons of the Mind (Canada 1971) Probes in Space (1975) – Todd-AO. The camera was fitted with the fisheye lens used for Cinerama 360. Auto-E-Motion (1984) – Super Panavision 70. BMW promotional film. Cinespace 70 by Todd-AO (USA 1989) – Cinespace 70. A demo film to showcase the merits of filming using Todd-AO's new Cinespace 70 cameras. The negative specifications were identical to Todd-AO but the frame rate was increased to 30fps. Warriors of the Wasteland (USA 1989) - Super Panavision 70 (65mm camera negative was frame scanned at 4k and restored in 2014) Året gjennom Børfjord/A Year Along the Abandoned Road (Norway 1991) – Super Panavision 70 Dead Sea (USA 1992) – Panavision System 65 (65mm camera negative was frame scanned at 4k and restored in 2014) Tour Eiffel (Germany 1994) – Arri 765 Svalbard - Arctic Seasons (Norway 1995) – Filmed with Mitchell 65mm cameras (HKB 65/70) Le mariage de Fanny/Fanny's Wedding (France 2000) – Superpanorama 70 The Testaments of One Fold and One Shepherd (USA 2000) – Arri 765 (some scenes in Panavision System 65) Tanakh bibelen al-quran (Norway 2007) – Superpanorama 70 Daughter of Dismay (Austria 2019) – Mitchell 8/65 camera Forever...Forever (Austria/France 2026) – VistaRama65 / 27 perforation time-lapse camera for 70mm/5p reduction prints https://www.in70mm.com/presents/library/orphan/2026_forever/about/index.htm
Partial list of Special Venue Films Journey to the Stars (1962) – Cinerama 360 (a 10/70 dome system using a circular image). 24fps. Shown at the Seattle World's Fair. To the Moon and Beyond (1964) – Cinerama 360 (a 10/70 dome system using a circular image). 18fps. Shown in the Transportation and Travel Pavilion at the New York World's Fair. Later reduced to 35mm, renamed Cosmos and shown in a traveling inflatable theater. Motion (Canada 1967) – Superpanorama 70 Harmony: Nature and Man (1969) – Dimension 150. Shown in the Washington State Pavilion at the 1970 Osaka World's Fair. Voyage to the Outer Planets (1973) – A multimedia presentation which included sequences filmed in standard 65mm and in Dynavision (8/70 negative using a modified Todd-AO camera, blown up to OMNIMAX). The Circus (1973) – Todd-AO. Shot with the camera on its side and projected onto a tall narrow screen. Cosmos (aka Cosmos: The Universe of Loren Eisley) (1974) – Dynavision (8/70 negative using a modified Todd-AO camera, blown up to OMNIMAX). Shown at the Reuben H. Fleet Science Center in San Diego.