| | Super Panavision 70 | All 70mm film lists
| | Compiled by: Thomas Hauerslev. | | | Title | Released | Cinema | Notes | | | | | | The Big Fisherman | 04.08.1959 | Rivoli, NYC, USA | | | Exodus | 15.12.1960 | Warner, NYC, USA | | | West Side Story | 18.10.1961 | Rivoli, NYC, USA | | | Lawrence of Arabia | 09.12.1962 | Odeon Leicester Square, London | Restored version premiere 04.02.1989, Ziegfeld, New York, USA | | My Fair Lady | 21.10.1964 | Criterion, NYC, USA | Restored version, premiere 21.09.1994, Ziegfeld, NYC, USA | | Cheyenne Autumn | 19.11.1964 | Warner, London | “World Press Preview” 03.10.1964 - Lincoln, Cheyenne, USA | | Lord Jim | 15.02.1965 | Odeon LS, London | | | Grand Prix | 21.12.1966 | Warner, NYC, USA | New 70mm print screened 23.05.2006 for Academy staff. | | 2001: A Space Odyssey | 02.04.1968 | Uptown, DC, USA | | | Ice Station Zebra | 23.10.1968 | Cinerama Dome, LA, USA | | | Chitty Chitty Bang Bang | 18.12.1968 | State 2, NYC, USA | | | McKenna's Gold | 18.03.1969 | Royal, Münich, Germany | | | Song of Norway | 04.11.1970 | Cinerama, NYC, USA | | | Ryan's Daughter | 09.11.1970 | Ziegfeld, NYC; USA | Empire, London on 09.12.1970 | | Tron (P) | 08.07.1982 | State 2, NYC, USA | Live action filmed in 65mm. Computer graphics photographed in VistaVision. | | Brainstorm (P) | 30.09.1983 | Ziegfeld, NYC, USA | | | "Far and Away" | 22.05.1992 | Ziegfeld, NYC, USA | Panavision System 65
The Arriflex 65mm camera ARRI 765 was used for short segments | | "Hamlet" | 25.12.1996 | Ziegfeld, NYC, USA | Panavision System 65. Technicolor, London manufactured 31 x 4-hour 70mm prints. 5 of which were made from the original 65mm camera negative (Technicolor, February 28, 1997).
The Arriflex 65mm camera ARRI 765 was used for short segments. | | Samsara | 11.09.2011 | Toronto International Film Festival | Ron Fricke's follow up to "Baraka". Filmed over 4 years. Filming ended May 2011. Released in 35mm and 4K exclusively | | | | | | | | | | |
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(S) = Short film | The Super Panavision 70 / Panavision System 65 short films | | | | The Super Panavision 70 / Panavision System 65 camera used for short segments | | | Title | Released | Cinema | Notes | | | | | | The Witness (S) | 1999 | CT, USA, USA | Major parts filmed in ARRI 765 | | Testaments (S) | 2000 | Salt Lake City, USA | Major parts filmed in ARRI 765 | | The New World | 2005 | | The Panavision System 65 camera was used hyper realistic scenes | | The Prestige | 2007 | | | | Shutter Island | 2010 | | Short sequences filmed in Panavision PFX System 65 Studio & ARRI 765
From American Cinematographer:
In prep, the filmmakers tested various methods of further enhancing the hyper-real look of Teddy’s visions; 65mm, anamorphic 35mm and high-definition video were all considered as mates for the project’s main format, Super 35mm. “The goal was to capture as much detail as possible for the DI suite,” says Richardson. “There weren’t as many differences among the filmouts as you might expect — the DI was the great equalizer — but 65mm had a definitive edge. We could wrestle with it in the digital world without the normal side effects encountered with a smaller negative. After he saw the tests, Marty agreed to shoot Teddy’s dream states on 65mm.” Unfortunately, after filming one day with a Panavision PFX System 65 Studio and an Arri 765, both cameras broke down on a frigid night. “Only a few of those shots remain,” says Richardson. (Ed. Note: These can be seen in a dream sequence that shows Teddy in Dachau in civilian clothes.) |  "Inception" | 2010 | | "Inception" in 65mm | | "The Tree of Life" | 16.05.2011 | Festival de Cannes, France | | | | | | |
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Updated 13-09-11 | |
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