Editing 70 mm film (section)

==Decline and resurgence==
Due to the high cost of 70&nbsp;mm film and the expensive projection system and screen required to use the stock, distribution for films using the stock was limited, although this did not always hurt profits. Most 70&nbsp;mm films were also released on [[35 mm movie film|35&nbsp;mm film]] for a wider distribution after the initial debut of the film. ''[[South Pacific (1958 film)|South Pacific]]'' (1958), ''[[Lawrence of Arabia (film)|Lawrence of Arabia]]'' (1962), ''[[My Fair Lady (film)|My Fair Lady]]'' (1964), and ''[[The Sound of Music (film)|The Sound of Music]]'' (1965) are well-known films widely shown in 70&nbsp;mm format with a general release in 35&nbsp;mm format. 70&nbsp;mm film received a brief resurgence in the 1980s when it became popular to make "blow-up" prints of [[35 mm movie film|35&nbsp;mm]] titles. It had another resurgence in the mid-2010s with the release of ''[[The Master (2012 film)|The Master]]'' (2012), ''[[The Hateful Eight]]'' (2015) and ''[[Dunkirk (2017 film)|Dunkirk]]'' (2017), with a small number of venues getting temporary or permanent 70&nbsp;mm film projectors in order to be able to screen these titles.<ref name="DunkirkRelease2017" /> [[Quentin Tarantino]], in particular, led a successful campaign to have the equipment required to show ''[[The Hateful Eight]]'' in [[Ultra Panavision 70|Ultra Panavision]] installed in 100 cinemas worldwide.<ref>{{Cite web|url=https://www.bfi.org.uk/lists/10-great-films-shot-70mm|title=10 Great Films Shot in 70 mm|last=Thrift|first=Matthew|date=22 January 2018|website=BFI (British Film Institute)|access-date=24 December 2019}}</ref>

===Blow-ups===
The 35&nbsp;mm to 70&nbsp;mm "blow-up" process produces 70&nbsp;mm release prints from 35&nbsp;mm negatives, so that films shot on the smaller format could benefit from 70&nbsp;mm image and sound quality. This process began in the 1960s with titles like ''[[The Cardinal (film)|The Cardinal]]'' (1963)<ref>{{cite web |title=The Beginning of the End |url=http://www.widescreenmuseum.com/widescreen/35-70mm.htm |website=in70mm |access-date=8 February 2019}}</ref> and continues up until the present day, with the height of its popularity being in the 1980s. These enlargements often provided richer colors, and a brighter, steadier and sharper (though often grainier) image, but the main benefit was the ability to provide 6-channel stereophonic sound as most theaters before the mid-70s (before the advent of [[Dolby noise reduction|Dolby A]]) were screening 35&nbsp;mm prints with single channel [[monaural]] sound.<ref name="Celestino2014" /> However these "blow-ups" rarely used the full six channels of the [[Todd-AO]] system and instead used the four-track mixes made for 35&nbsp;mm prints, the additional half-left and half-right speakers of the [[Todd-AO]] layout being fed with a simple mix of the signals intended for the adjacent speakers (known as a "spread") or simply left blank.<ref name="ReferenceA">"Mixing Dolby Stereo Film Sound" Larry Blake Recording Engineer/Producer Vol12 No.1 Feb 1981</ref> If a 70&nbsp;mm film was shown in a Cinerama theatre, the [[Cinerama]] sound system was used. From 1976 onwards, many 70&nbsp;mm prints used Dolby noise reduction on the magnetic tracks but Dolby disapproved of the "spread" and instead re-allocated the 6 available tracks to provide for left, center and right screen channels, left and right surround channels plus a "low-frequency enhancement" channel to give more body to low-frequency bass.<ref>The CP200 – A Comprehensive Cinema Theater Audio Processor David Robinson Journal of the SMPTE Sept 1981</ref> This layout came to be known as "[[5.1 surround sound|5.1]]" (the "point one" is the low-frequency enhancement channel) and was subsequently adopted for digital sound systems used with 35&nbsp;mm.

In the 1980s the use of these "blow-ups" increased with large numbers of 70&nbsp;mm prints being made of some blockbusters of the period such as the 125 70&nbsp;mm prints made of ''[[The Empire Strikes Back]]'' (1980).<ref name="ReferenceA"/> However the early 1990s saw the advent of digital sound systems ([[Dolby Digital]], [[DTS (sound system)|DTS]] and [[Sony Dynamic Digital Sound|SDDS]]) for 35&nbsp;mm prints which meant that 35&nbsp;mm could finally match 70&nbsp;mm for sound quality but at a far lower cost. Coupled with the rise of the multiplex cinema, which meant that audiences were increasingly seeing films on relatively small screens rather than the giant screens of the old "Picture Palaces", this meant that the expensive 70&nbsp;mm format went out of favour again. The [[DTS (sound system)#DTS 70 mm|DTS]] digital sound-on-disc system was adapted for use with 70&nbsp;mm film, thus saving the significant costs of magnetic striping, but this has not been enough to stop the decline, and 70&nbsp;mm prints were rarely made.

Among some of the more recent 70&nbsp;mm blow-up titles are [[Paul Thomas Anderson]]'s [[Inherent Vice (film)|''Inherent Vice'']] (2014)<ref name="Celestino2014" /> and ''[[Phantom Thread]]'' (2017), [[Patty Jenkins]]'s [[Wonder Woman (2017 film)|''Wonder Woman'']] (2017),<ref>{{cite web |title=70 mm Blow Ups 2017 |url=https://www.in70mm.com/library/blow_up/year/2017/index.htm |website=in70mm |access-date=8 February 2019 |archive-date=9 February 2019 |archive-url=https://web.archive.org/web/20190209180121/https://www.in70mm.com/library/blow_up/year/2017/index.htm |url-status=dead }}</ref> and [[Steven Spielberg]]'s [[Ready Player One (film)|''Ready Player One'']] (2018).<ref>{{cite web |title='Ready Player One' in 70 mm Film Opens on 22 Screens |url=https://www.hollywoodreporter.com/behind-screen/ready-player-one-70mm-film-opens-22-screens-1098364 |website=Hollywood Reporter |access-date=8 February 2019}}</ref>

=== Current use ===
From 1970, the usage of 65&nbsp;mm negative film drastically reduced, although the Soviet Union (who used 70&nbsp;mm stock) continued to use it frequently until the end of the 1980s. This was in part due to the high cost of 65&nbsp;mm raw stock and processing. Some of the few films since 1990 shot entirely on 65&nbsp;mm stock are [[Kenneth Branagh]]'s ''[[Hamlet (1996 film)|Hamlet]]'' (1996), [[Ron Fricke]]'s ''[[Baraka (film)|Baraka]]'' (1992) and its sequel, ''[[Samsara (2011 film)|Samsara]]'' (2011) and [[Quentin Tarantino]]'s ''[[The Hateful Eight]]'' (2015). Some titles used a mixture of 5-perf and 15-perf (IMAX) 65&nbsp;mm stock, including [[Christopher Nolan]]'s films ''[[Dunkirk (2017 Film)|Dunkirk]]'' (2017), ''[[Tenet (film)|Tenet]]'' (2020) and ''[[Oppenheimer (film)|Oppenheimer]]'' (2023), and [[Ryan Coogler]]'s ''[[Sinners (2025 film)|Sinners]]'' (2025).

Other titles with a significant amount of 65&nbsp;mm footage (both 5-perf and 15-perf) include [[Kenneth Branagh]]'s ''[[Hamlet (1996 film)|Hamlet]]'' and ''[[Murder on the Orient Express (2017 film)|Murder on the Orient Express]]'', [[Paul Thomas Anderson]]'s ''[[The Master (2012 film)|The Master]]'', and Christopher Nolan's ''[[The Dark Knight]]'', ''[[Inception]]'',<ref>{{cite news|url=http://www.collider.com/2010/03/25/director-christopher-nolan-and-producer-emma-thomas-interview-inception-they-talk-3d-what-kind-of-cameras-they-used-pre-viz-wb-and-a-lot-more/ |title=Christopher Nolan and Emma Thomas Interview Inception – They Talk 3D, What Kind of Cameras They Used, Pre-Viz, WB, and a Lot More! |work=Collider |first=Steve 'Frosty' |last=Weintraub |date=25 March 2010 |access-date=1 December 2015 |url-status=dead |archive-url=https://web.archive.org/web/20100327204348/http://www.collider.com/2010/03/25/director-christopher-nolan-and-producer-emma-thomas-interview-inception-they-talk-3d-what-kind-of-cameras-they-used-pre-viz-wb-and-a-lot-more/ |archive-date=27 March 2010 }}</ref> ''[[The Dark Knight Rises]]'' and ''[[Interstellar (film)|Interstellar]]''.

Since the 2010s, most movie theaters have converted to digital projection systems, resulting in the removal of both 35&nbsp;mm (the previous industry standard) projectors and 70&nbsp;mm projectors.<ref>{{cite news|url=https://variety.com/2013/film/news/digital-cinema-conversion-nears-end-game-1200500975/|title=Digital Cinema Conversion Nears End Game|work=Variety|first=Leo|last=Barraclough|date=23 June 2013|access-date=1 December 2015}}</ref> However some venues and organizations remain committed to screening 70&nbsp;mm film, seeing the special format as something that can set them apart and be an audience draw in an industry where most movies are screened digitally.<ref>{{cite web |title=The Film Stays in the Picture: A Guide to 70 mm Film Projection |url=https://consequenceofsound.net/2018/09/a-guide-to-70mm-projection/ |website=Consequence of Sound |access-date=8 February 2019}}</ref>

70&nbsp;mm film festivals continue to take place regularly at venues such as [[Somerville Theatre|The Somerville Theatre]] in Somerville, Massachusetts,<ref>{{Cite web|url=http://scoutsomerville.com/somerville-theatre-70mm-film-festival/|archive-url=https://web.archive.org/web/20160923223034/http://scoutsomerville.com/somerville-theatre-70mm-film-festival/|url-status=usurped|archive-date=September 23, 2016|title=70 mm Film Festival Celebrates Cinematic Classics {{!}} Scout Somerville|last=Feedore|first=Elliott|website=scoutsomerville.com|language=en-US|access-date=2017-05-19}}</ref> The [[Music Box Theatre (Chicago)|Music Box Theatre]] in Chicago,<ref>{{Cite web|url=http://www.rogerebert.com/balder-and-dash/70mm-film-festival-the-ultimate-edition-arrives-at-chicagos-music-box-theater|title="70 mm Film Festival: The Ultimate Edition" Arrives at Chicago's Music Box Theater {{!}} Balder and Dash {{!}} Roger Ebert|last=Sobczynski|first=Peter|website=rogerebert.com|language=en|access-date=2017-05-19}}</ref> the [[Hollywood Theatre (Portland, Oregon)|Hollywood Theatre]] in Portland, Oregon,<ref>{{cite web |title=Hollywood Signature Film Series: 70mm |url=https://hollywoodtheatre.org/programs/series/70mm/t |website=Hollywood Theatre}}</ref> the [[American Cinematheque]]'s Aero and Egyptian Theaters in Los Angeles,<ref>{{cite web |title=The Return of 70 mm |url=http://americancinematheque.blogspot.com/2017/08/the-return-of-70mm-by-wade-major.html |website=American Cinematheque Blog |access-date=8 February 2019}}</ref> the [[Museum of the Moving Image]] in New York City,<ref>{{cite web |title=See it Big! 70 mm |url=http://www.movingimage.us/programs/2017/07/19/detail/see-it-big-70mm/ |website=Museum of the Moving Image - Programs |access-date=8 February 2019}}</ref> the [[TIFF Bell Lightbox]] in Toronto,<ref name="thegate.ca"/> the [[Worcester Polytechnic Institute]] in Worcester, Massachusetts,<ref>{{Cite web|url=https://lnl.wpi.edu/services/projection.html|title=Lens and Lights &#124; Projection|access-date=3 November 2020}}</ref> and others.