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Motion pictures photographed in Super Panavision 70 & Panavision System 65
"70mm film like anything has its advantages and disadvantages. It is particularly appropriate for those films that are set in locations of outstanding natural beauty. For example, it was certainly the right film for shooting "Lawrence Of Arabia", where capturing the magnificence of the desert was so important".

Freddie A. Young, The 70mm Newsletter, June 1995





“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.
Stanley Kubrick's "2OO1: A Space Odyssey" in Super Panavision 70

A Big Screen Odyssey: The 70mm Presentations of Kubrick’s “2001”

The Original Reserved Seat Engagements Of ‘2001: A Space Odyssey’ (2004)

1968: A Roadshow Odyssey - Release dates (2004)
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"

“Murder on the Orient Express”: The North American 70mm Engagements

United Kingdom
"Death on the Nile"

“Death on the Nile”: The North American 70mm Engagements
  "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”: The North American 70mm Engagements

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

Where to see "Oppenheimer" in the Splendour of Glorious 7OMM
20.07.2023 Denmark  

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.

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"


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.”


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

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.”

Online: 02-06-1999. Updated: 21-01-2024