Motion pictures photographed in Super Panavision 70 & Panavision System 65

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	10.12.1962	Odeon Leicester Square, London	Restored version premiere 04.02.1989, Ziegfeld, New York, USA • Go to Restoration of "Lawrence of Arabia" • Go to "Lawrence of Arabia" Production information, Cast and Credit
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 Leicester Square, London
Grand Prix	21.12.1966	Warner, NYC, USA	New 70mm print screened 23.05.2006 for Academy staff.
2OO1: 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	20.03.1969	City-Filmtheater, Hamburg, Germany	World premiere
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	08.07.1982	State 2, NYC, USA	Live action filmed in 65mm. Computer graphics photographed in VistaVision. "The Making of Tron" The Original 70mm Engagements
Brainstorm	30.09.1983	Ziegfeld, NYC, USA	25th Anniversary of "Brainstorm"'s 1983 Release
"Far and Away" The 70mm Engagements	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	19.08.2012 World premiere commercial run 11.09.2011 = Festival world premiere *)	Schauburg Cinerama, Karlsruhe, Germany *) Toronto International Film Festival	Ron Fricke's follow up to "Baraka". Filmed over 4 years. Filming ended May 2011. Released in 2K and 4K exclusively
"The Master"	14.09.2012 US Premiere - limited release	New York and Los Angeles	"The Master" was shot with a Panaflex System 65 Studio Camera. It was framed for 1.85:1. 80% of the finished film is in 65mm. The remaining 20% is shot in standard 35mm. The reason for using both film formats was a creative choice. The 65mm film stock used was Kodak 5201 (50ASA)
"Murder on the Orient Express"	03.11.2017 United Kingdom
"Death on the Nile"	11.02.2022		"With many cinemas closed, Disney delayed Nile's release by a few months but has stuck by a pre-Christmas theatrical outing. That's fantastic news for a production shot at the highest fidelity large format 65mm film and for which 32 70mm release prints have been struck." From https://britishcinematographer.co.uk 32x 70mm release prints
"NOPE"	22.07.2022 DIGITAL 03.11.2022 7OMM release*)	USA	• Go to "NOPE" - Photographed on 65mm Film. Production Information From indiewire.com 21. July 2022: So, naturally, the movie had to be shot with large format IMAX cameras for the immersive action (along with Panavision System 65 cameras for the rest, and Kodak supplying 65mm film for both). Peele found the perfect collaborator in Hoyte van Hoytema — Christopher Nolan’s go-to cinematographer — who has transformed IMAX into innovative spectacle with “Interstellar”, "Dunkirk", "Tenet", and the upcoming "Oppenheimer" There are 47 minutes of IMAX footage devoted primarily to the various alien attacks (shot in Agua Dulce near Santa Clarita). *) Aero Theatre, Santa Monica, CA, USA, see The 70mm Rumour Mill

The Super Panavision 70 / Panavision System 65 short films

Title	Released	Cinema	Notes
AUTO-E-Motion	1984		German film for BMW museum
Symbiosis	1982	EPCOT Centre, Florida, USA	Directed by Paul Gerber for Disney 30 frames per second and 12 track stereo.
"New Magic"	1985		Showscan feature filmed with Super Panavision 70 rack over 65mm camera.
Norway	1989		Directed by Paul Gerber for Disney
Warriors of the Wasteland	1989
A Year Along the Abandoned Road	11.06.1991	Grimstad, Norway.
Dead Sea	18.11.1992	Sherman Oaks, CA, USA
New Ride Film	2002
EMVF in 65mm: Movies for your ears	2003		Never released in 70mm
Arcade Fire “Afterlife” See the film	2013		Never released in 70mm Tell us about shooting -- where was it shot? How big was the crew? What made this video special? We shot on 65mm, using this rare camera of which there are only three left in the world. I shouldn't be saying this, but I was carrying it through a rock quarry and dragging it through sand while thinking "this camera literally shot The Dark Knight, this camera shot 2001: A Space Odyssey." It’s from the 70s and looks like a NASA device. It shoots the highest resolution. If you want to shoot a big action sequence you use a 65mm. It helped me get that epicness I thought the song required. wikipedia.org
Abu Dhabi Tourism promo	2022		Camera Revolution Ltd writes on Facebook in September 2022 about making a Abu Dhabi Tourism promo in 65mm with a Panavision 65mm Camera, Techno75 Telescopic Crane and our Libra Head. Key Grip: Boris Alomi. Best Boy: Daniel Ibeabuchi and Libra Head Techn: Brad Maloney

The Super Panavision 70 / Panavision System 65 camera used for short segments

Title	Released	Cinema	Notes
The Witness	1999	CT, USA, USA	Major parts filmed in ARRI 765
Testaments	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
"Snow White and the Huntsman"	30.05.2012
"To the Wonder" donatelloromanazzi.blogspot.dk	02.09.2012	Venice Film Festival	From American Cinematographer, April 2013 What format was the movie shot on? Lubezki: It’s a combination of 35mm, which was used for the scenes between Ben and Olga in Oklahoma, and 65mm for several shots of Ben and Rachel McAdams. That relationship is perceived by Ben’s character as less romantic and more stable and realistic, and we felt that the 65mm expressed that stability and a kind of hyper-reality. Aside from a scene with some buffalo that we shot in 65mm because we couldn’t get too close to the animals, we didn’t use cumbersome equipment. For the buffalo sequence, we used a crane because we wanted the 65mm material to feel a little more steady and different from the rest of the movie, but other than that we used a combination of Steadicam and handheld. And when I say handheld I don’t necessarily mean a moving camera — sometimes we use sandbags and just prop the camera on the floor or another part of our location.
Jurassic World	29.05.2015	France	From Kodak's web site: Jurassic World Calls for 65mm Film Many interior scenes were filmed on set in Louisiana. In addition to shooting the majority of the film on 4-perf 35mm, Schwartzman shot roughly 150,000 feet of 5-perf 65mm film to take advantage of the additional dynamic range and resolution. “I used the 65mm camera if I knew I had a wide shot in which we were either going to change the background or introduce dinosaurs,” he says. “Why not give ILM the master shot on a format so large that they could do a move across it if they wanted to? In Hawaii, we would generally use the 65 for our master. When we went in for the coverage, I would go to 35mm.” “We shot our 65mm tests at Panavision, sent the negative over the FotoKem, and saw it projected the next day,” he says. “It was like, ‘Oh, my god. Why aren’t we doing this on every movie?’ It’s just so beautiful.” “The 65mm, shot on the 50 daylight film, looks like you could walk right into the screen,” Schwartzman explains. “If it was sunny in Hawaii, I used the 50D anytime I could. Sometimes I’d throw on a polarizing filter, shoot at 11.5, and I knew it would be gorgeous.” panavision.com: Large format 5-perf 65mm was strategically employed for master shots and for visual effects. With a native aspect ratio of 2.20:1, 65mm provided Industrial Light & Magic with some additional frame space to maneuver for the film's 2.00:1 aspect. “The 65mm film negative gave ILM an incredibly high-resolution image for effects shots,” he says.
"Knight of Cups"	February 2015	Berlin Film Festival	Terrence Malick’s "Knight of Cups", which premiered at the Berlin Film Festival in early February 2015, has literally been years in the making. Shot in 2012, on 35mm, 65mm (Panavision 65HR) and a variety of digital formats, "Knight of Cups" has had a two-year post-production cycle.
"Batman v Superman: Dawn of Justice"	25 March 2016	70mm Blow Up List 2016
"Dunkirk"	21.07.2017	"Dunkirk" Premieres in Europe in the splendour of 7OMM	Dunkirk was mostly filmed in 65mm IMAX
"Christopher Robin"	03.08.2018		From Kodak's page: "For the dramatic entry into the Hundred Acre Wood and iconic Pooh Sticks Bridge scenes, the cinematographer selected a Panavision System 65 camera, fitted with a combination of Ultra Panavision lenses and spherical glass."
"Tenet"	26.08.2020		Tenet was mostly filmed in 65mm IMAX
No Time to Die	12.11.2020	London, UK	From American Cinematographer, April 2020: The filmmakers used Imax MSM 9802 and Mark IV cameras for these scenes, with [Panavision] System 65 units employed for intimate dialogue because, says Sandgren, “Imax cameras are just a bit too loud.”

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Notes

The Super Panavision 70 / Panavision System 65 short films

The Super Panavision 70 / Panavision System 65 camera used for short segments