Editing 70 mm film (section)

== Uses of 70&nbsp;mm ==
===Ultra Panavision===
{{main|Ultra Panavision 70}}
<!-- Image with inadequate rationale removed: [[Image:Ben-Hur chariot race.jpg|thumb|380px|The chariot race scene from ''Ben-Hur'', illustrating the extremely wide [[aspect ratio (image)|aspect ratio]] used.]] -->
An [[anamorphic]] squeeze combined with 65&nbsp;mm film allowed for extremely wide aspect ratios to be used while still preserving quality. This was used in the 1957 film ''[[Raintree County (film)|Raintree County]]'' and to incredible success in the 1959 film ''[[Ben-Hur (1959 film)|Ben-Hur]]'' and the 2015 film ''[[The Hateful Eight]]'', both of which were filmed with the Ultra Panavision 70/MGM Camera 65 process at an aspect ratio of 2.76:1.  It required the use of a 1.25x anamorphic lens to horizontally compress the image, and a corresponding lens on the projector to uncompress it.

===Visual effects===
Limited use of 65&nbsp;mm film was revived in the late 1970s for some of the visual effects sequences in films like ''[[Close Encounters of the Third Kind]]'', mainly because the larger negative did a better job than 35&nbsp;mm negative of minimizing visible film grain during optical [[compositing]]. 65&nbsp;mm was the primary film format used at VFX pioneer [[Douglas Trumbull]]'s facility EEG (Entertainment Effects Group), which later became [[Boss Film Studios]], run by former [[Industrial Light & Magic]] alum [[Richard Edlund]]. Since the 1990s, a handful of films (such as ''[[Spider-Man 2]]'') have used 65mm for this purpose, but the usage of [[digital intermediate]] for compositing has largely negated these issues.  Digital intermediate offers other benefits such as lower cost and a greater range of available lenses and accessories to ensure a consistent look to the footage.

===IMAX===
[[File:65 mm film (15-70).svg|thumb|right|upright=1.64|IMAX (15-perf) horizontal pulldown 70 mm film and frame dimensions]]
{{main|IMAX}}
A [[horizontal pulldown|horizontal]] variant of 70&nbsp;mm, with an even bigger picture area, is used for the high-performance IMAX format which uses a frame that is 15 perforations wide on 70&nbsp;mm film. The Dynavision and Astrovision systems each use slightly less film per frame and [[vertical pulldown]] to save print costs while being able to project onto an IMAX screen. Both were rare, with Astrovision largely used in Japanese [[planetarium]]s. IMAX introduced a digital projection system in the late 2000s and most IMAX venues have migrated to a digital setup.<ref>{{cite news|url=http://www.studiodaily.com/2013/10/film-loses-more-ground-as-imax-switches-flagship-theaters-to-digital/|title=Film Loses More Ground As Imax Switches Flagship Theaters to Digital|work=Studio Daily|first=Bryant|last=Frazer|date=24 October 2013|access-date=1 December 2015}}</ref>

===70&nbsp;mm 3D early use===
The first commercial introduction of 70&nbsp;mm single projector 3D was the 1967 release of ''Con la muerte a la espalda'', a Spanish/French/Italian co-production which used a process called Hi-Fi Stereo 70, itself based on a simplified, earlier developed Soviet process called Stereo-70. This process captured two anamorphic images, one for each eye, side by side on 65&nbsp;mm film. A special lens on a 70&nbsp;mm projector added polarization and merged the two images on the screen. The 1971 re-release of [[Warner Bros.]]' ''[[House of Wax (1953 film)|House of Wax]]'' used the side-by-side StereoVision format and was distributed in both anamorphically squeezed 35&nbsp;mm and deluxe non-anamorphic 70&nbsp;mm form. The system was developed by [[Allan Silliphant]] and [[Chris Condon]] of StereoVision International Inc., which handled all technical and marketing aspects on a five-year special-royalty basis with Warner Bros. The big screen 3D image was both bright and clear, with all the former sync and brightness problems of traditional dual 35&nbsp;mm 3D eliminated. Still, it took many years more before IMAX began to test the water for big-screen 3D, and sold the concept to Hollywood executives.

===IMAX 3D===
Hollywood has released films shot on 35&nbsp;mm as IMAX blow-up versions. Many 3D films were shown in the 70&nbsp;mm IMAX format. ''[[The Polar Express (film)|The Polar Express]]'' in IMAX 3D 70&nbsp;mm earned 14 times as much, per screen, as the simultaneous 2D 35&nbsp;mm release of that film in the fall of 2004.