Glossary:

Compiled by Gary Palmer

The following list provides basic technical details for each of the photographic formats noted throughout the filmography, along with notes on a few other items whose origins were deemed to require some kind of explanation. Whereas most of the films in the list are shot and projected on celluloid, many of the lenses mentioned below can also be used on HD video cameras, or to photograph cel animation.

This does not represent a complete list of all widescreen and 'special' photographic formats, only those which are listed throughout this filmography.

Unless otherwise noted, all of the photographic formats listed below were designed to render a 2.35:1 (pre-1971) or 2.39:1 (1971 onwards) aspect ratio for theatrical exhibition. 2.39:1 is the projected ratio, though the image on the frame is 2.35:1. 

All titles in the filmography were shot in 2- or 4-perf 35mm, except where another gauge is listed in parentheses directly after the photographic process. For instance, 'Panavision (HD)' means the film employed anamorphic Panavision lenses on an HD camera. 'Toeiscope (cel animation)' means anamorphic lenses were used to photograph still-images to create an animated feature. And so on and so forth. 

Scroll down the page for a list of miscellaneous and non-existent 'widescreen' formats.

----------oOo----------

• 2.35 Research: 4-perf 35mm anamorphic. Listed in many sources as '2.35 Research PLC', but this refers to the company which manufactures the 2.35 Research lenses (PLC stands for 'Public Limited Company')!
• 3-Depix: Stereoscopic format in which the left-right images are placed above-and-below each other in the space normally occupied by a single 4-perf 35mm frame, creating two separate Techniscope (2-perf) images.
• 3-D Plus: Anaglyph 3-D process, employed on a single film to date (AABRA KA DABRA: THE SCHOOL OF MAGIC).

• Academy ratio: 4-perf 35mm. Aspect ratio 1.37:1.
• Adhi Scope: 4-perf 35mm anamorphic.
• Adhi Yasa Scope: 4-perf 35mm anamorphic.
• Agascope: 4-perf 35mm anamorphic.
• Alexscope: 4-perf 35mm anamorphic.
• Amusement Scope: 4-perf 35mm anamorphic.
• Anamorphic: All-purpose phrase, used thoughout the filmography whenever a film is shot with uncredited 4-perf 35mm anamorphic lenses.
• ARC 120 [see: Wonderama]
• Arriscope: 4-perf 35mm anamorphic.
• ArriVision: 3-D format in which the left-right images are placed above-and-below each other in the space normally occupied by a single 4-perf 35mm frame, creating two separate Techniscope (2-perf) images.
• Asterscope [unknown]

• BAS-Scope: 4-perf 35mm anamorphic.
• Biansing Scope: 4-perf 35mm anamorphic.
• Bolascope: 4-perf 35mm anamorphic.
• Byronscope [see: Hammerscope]

• Camerascope: 4-perf 35mm anamorphic.
• Cathay Scope: 4-perf 35mm anamorphic.
• Celco Scope: 4-perf 35mm anamorphic.
• Centralscope: 4-perf 35mm anamorphic.
• CGI Widescreen: All-purpose phrase which refers to computer-animated material rendered in scope format within the digital domain.
• Chiluen Scope: 4-perf 35mm anamorphic.
• Chinascope: 4-perf 35mm anamorphic.
• Cineart Scope: 4-perf 35mm anamorphic.
• Cinedepth: 3-D format in which the left-right images are filmed with separate cameras using Techniscope (2-perf 35mm spherical) film. The images are printed in single-strip/over-under format in the space normally occupied by a single 4-perf 35mm frame.
• CinemaScope: 4-perf 35mm anamorphic. Some of the earliest CinemaScope films sported a magnetic stereo soundtrack which rendered a 2.55:1 aspect ratio. Separate prints with optical mono soundtracks (rendering a 2.35:1 ratio) were issued to theaters not equipped with the necessary audio hardware. In those cases, the 2.55:1 versions with mag stereo soundtracks were definitive, while the 2.35:1 mono versions were no more than a commercial necessity. However, a number of early CinemaScope films were recorded and released exclusively in mono sound, and these were framed at 2.35:1. Following the widespread adoption of magoptical soundtracks in 1956 (featuring mag stereo and optical mono on the same print), all CinemaScope films were rendered at 2.35:1, regardless of the primary soundtrack. For various reasons, a number of early black and white CinemaScope films were credited as Regalscope (qv).
• CinemaScope 55: 8-perf 55mm anamorphic. 6-perf release prints. Aspect ratio: 2.55:1.
• Cinemiracle: Three 6-perf 35mm (spherical) frames projected side by side to create a single seamless image. Aspect ratio: 2.51:1.
• Cineovision: 4-perf 35mm anamorphic.
• Cinepanoramic: 4-perf 35mm anamorphic.
• Cinerama: Three 6-perf 35mm (spherical) frames projected side by side to create a single seamless image. Aspect ratio: 2.59:1.
• Cinerama Scope: 4-perf 35mm anamorphic. This hugely misleading trade name has no connection to the 3-panel Cinerama (qv) format, but instead refers to the name of the Indonesian production company which used it on various films (P.T. Cinerama Film).
• Cinescope: 4-perf 35mm anamorphic.
• Cinetotalscope: 2-perf 35mm spherical.
• Cinevision: Photographic process, about which nothing more is currently known, employed on the 1962 thriller THE VERY EDGE. Not to be confused with 'CineVision' (see entry in Miscellaneous section below).
• Clairmont Scope: 4-perf 35mm anamorphic.
• Crane Scope: 4-perf 35mm anamorphic.
• Cromoscope: 2-perf 35mm spherical. This was simply another name for the Techniscope (qv) process.

• Daieiscope: 4-perf 35mm anamorphic. 
• DeepVision: Anaglyph 3-D format. Aspect ratio varies from film to film, though any such production listed in this filmography is 2.35:1 in origin (2.39:1 projection from 1971 onwards).
• DEFA 70: 5-perf 65mm spherical. 5-perf 70mm release prints. Aspect ratio: 2.20:1.
• Deltascope [unknown]
• Dimensionalized (2-D to 3-D): All-purpose phrase which refers to 'flat' 2-D material converted to stereoscopic 3-D.
• Dimension 150: 5-perf 65mm spherical. 5-perf 70mm release prints. Aspect ratio: 2.20:1.
• DongBoScope: 4-perf 35mm anamorphic.
• Doryscope [unknown]
• Dual-Techniscope: All-purpose phrase which refers to a 3-D format in which the left-right images are filmed with separate cameras using 2-perf 35mm spherical film. The images are printed in single-strip/over-under format in the space normally occupied by a single 4-perf 35mm frame.
• Duo-Vision: 4-perf 35mm anamorphic. Two Academy-shaped images (showing different footage of the same scene) configured side by side on the wide 2.35:1 frame (2.39:1 projection). Used on a single film to date (WICKED, WICKED).
• DV Widescreen: All-purpose phrase, indicating a 2.35:1 image extracted from native 1.33:1 or 1.78:1 digital video material, printed 4-perf 35mm anamorphic and/or D-Cinema (2.39:1 projection).
• Dyaliscope: 4-perf 35mm anamorphic. Credited as 'Dylascope' on at least one film (THE FLESH AND THE FIENDS).
• Dylascope [see: Dyaliscope]

• Elite Scope: 4-perf 35mm anamorphic.
• Emperor Scope: 4-perf 35mm anamorphic.
• Empirescope: 4-perf 35mm anamorphic.
• Europascope [unknown]
• Euroscope: 2-perf 35mm spherical.

• Falscope: 4-perf 35mm anamorphic.
• Fantascope: 4-perf 35mm anamorphic.
• Fareast Scope: 4-perf 35mm anamorphic.
• Farscope: 4-perf 35mm anamorphic.
• Feelarama: Extreme low-frequency sound format, similar to Sensurround (qv).
• Filmascope [unknown]
• First Scope: 4-perf 35mm anamorphic.
• Franscope: 4-perf 35mm anamorphic.
• Fuji Vision: 3-D format in which the left-right images are placed above-and-below each other in the space normally occupied by a single 4-perf 35mm frame, creating two separate Techniscope (2-perf) images.
• Fusion 3-D: Stereoscopic format using two HD video cameras to capture the separate left-right images. Aspect ratio varies from film to film, though any such production listed in this filmography is 2.35:1 in origin (2.39:1 projection).
• Future Dimensions: [see: StereoVision]

• Gammascope [unknown]
• Grandeur: 4-perf 70mm spherical. Aspect ratio: 2.13:1.
• Grandeur 70: 8-perf 55mm anamorphic. Aspect ratio: 2.55:1.
• Grand Scope (Hong Kong): 4-perf 35mm anamorphic.
• GrandScope (Japan) [see: Shochiku GrandScope]

• Hammerscope: 4-perf 35mm anamorphic. Credited as 'Byronscope' on at least one film (MRS. GIBBON'S BOYS).
• Hawk Scope: 4-perf 35mm anamorphic.
• HD Widescreen: All-purpose phrase, indicating a form of digital 'anamorphosis' employing HD cameras. Special technology is used to alter the shape of the pixels that make up the HD video image, 'squeezing' an ultra-wide shape (2.33:1 or 2.37:1, depending on the camera) into the native 1.78:1 frame. The results are later extracted, unsqueezed and printed at 2.35:1 (4-perf 35mm anamorphic and/or D-Cinema) for theatrical exhibition at 2.39:1. Not to be confused with 'regular' HD acquisition, in which a 2.35:1 image is extracted from a native 1.78:1 HD frame, printed 4-perf 35mm anamorphic and/or D-Cinema (2.39:1 projection).
• Hi-Def 3-D: All-purpose phrase, denoting a stereoscopic format using two HD video cameras to capture the separate left-right images.
• Hi-Fi Stereo 70: 3-D format in which the separate left-right images are placed adjacent to one another in the space normally occupied by a single 5-perf 65mm frame and subjected to an anamorphic squeeze, yielding a 2.20:1 aspect ratio. Release prints configured in 5-perf 70mm. Also known as Stereovision 70 (qv), Triarama (qv) and Super Cinema 3-D.
• Hing Fat Scope: 4-perf 35mm anamorphic.
• Hi Stereo Vision: 3-D format in which the left-right images are filmed with separate cameras using Techniscope (2-perf 35mm spherical) film. The images are printed in single-strip/over-under format in the space normally occupied by a single 4-perf 35mm frame.
• Hispanoscope: 4-perf 35mm anamorphic.
• Hohwa Scope: 4-perf 35mm anamorphic.
• Hypergonar: 4-perf 35mm anamorphic. Aspect ratio: 2.66:1.

• Ifiscope [unknown]
• IMAX: 15-perf 65mm spherical. Aspect ratio: 1.44:1 (though it can accommodate a variety of ratios within its massive frame).
• IMAX DMR 3-D: Stereoscopic format in which material shot in one particular format (35mm, HD, etc.) is converted to 15-perf IMAX 3-D. The original material may have been 2-D and converted in post-production.
• IMAX 3-D: Stereoscopic format involving the creation and projection of separate left-right images on two strips of 15-perf 65mm (spherical) film. Primary aspect ratio: 1.44:1.
• Impact 3-D: Stereoscopic format in which the separate left-right images are stacked above-below in the space normally occupied by a single 4-perf 35mm frame.
• Interscope: 2-perf 35mm spherical.
• Iscoscope [unknown]

• J-D-C Scope: 4-perf 35mm anamorphic.
• Jiung Scope: 4-perf 35mm anamorphic.
• Jung An Scope: 4-perf 35mm anamorphic.

• Kathleen Scope: 4-perf 35mm anamorphic.
• Kathreen Scope: 4-perf 35mm anamorphic.
• King Hwa Scope: 4-perf 35mm anamorphic.
• Kinopanorama: Three 6-perf 35mm (spherical) frames projected side by side to create a single seamless image. Aspect ratio: 2.59:1.
• Kinopanorama 70: 5-perf 70mm spherical. Aspect ratio: 2.55:1.
• Kinoscop [unknown]
• Kin Scope: 4-perf 35mm anamorphic.
• K.S. Chung Scope: 4-perf 35mm anamorphic.
• Kwong Ming Scope: 4-perf 35mm anamorphic.

• Lankwong Scope: 4-perf 35mm anamorphic.
• LazerVision [see: StereoVision]
• Lomoscope: 4-perf 35mm anamorphic.

• Magirama: Three 4-perf 35mm (spherical) frames projected side by side to create a single seamless image. Aspect ratio: 4.00:1.
• Magnifilm: 5-perf 65mm spherical. Aspect ratio: 2.05:1.
• Magnoscope [unknown]
• McNabb 3-D: Stereoscopic format in which the left-right images are captured on separate strips of 4-perf 35mm spherical film, with essential action contained within a 2.35:1 portion of the frame(s). This portion is subsequently extracted and both images are printed in single-strip/over-under format in the space normally occupied by a single 4-perf 35mm frame.
• MCS-70 [see: Superpanorama 70]
• MCS Superpanorama 70 [see: Superpanorama 70]
• Megascope: There are two different versions of this particular format. If '(A)' is listed in parentheses directly afterward, then the film was shot in 4-perf 35mm anamorphic. If '(S)' is listed directly afterward, that means the 2.35:1 image was extracted from an Academy frame and printed 4-perf 35mm anamorphic. Where no such designation is given, that means the photographic configuration is unknown and the entry will be marked with an asterisk, awaiting confirmation one way or the other.
• MegaSound: Extreme low-frequency sound effect, similar to Sensurround (qv).
• Merdekascope [unknown]
• MGM Camera 65: 5-perf 65mm anamorphic. 5-perf 70mm release prints. Aspect ratio: 2.76:1. Subsequently renamed Ultra Panavision 70 (qv).
• Miracle ARC 120: [see: Wonderama]
• Moviescope: 4-perf 35mm anamorphic.
• Multiscreen: This isn't a trade name for a specific photographic process. Instead, for the purposes of this filmography, it refers to material shot in a variety of gauges and printed in 4-perf 35mm anamorphic for theatrical release, employing extensive use of split-screen.
• Multivision 235: 2-perf 35mm spherical. The same format can be used to render 1.85:1 images within the 2-perf area, but all films listed as Multivision 235 in this filmography were composed for 2.35:1 (2.39:1 projection).

• Natural Vision: 6-perf 63.5mm spherical. Aspect ratio: 2.00:1.
• Naturama: 4-perf 35mm anamorphic.
• Newscope: 4-perf 35mm anamorphic.
• Nichiei Scope: 4-perf 35mm anamorphic.
• Nikkatsuscope: 4-perf 35mm anamorphic.
• Nugraha Scope: 4-perf 35mm anamorphic.

• Omniavision [unknown].
• Optimax III: 3-D format in which the left-right images are placed above-and-below each other in the space normally occupied by a single 4-perf 35mm frame, creating two separate Techniscope (2-perf) images. Originally known as Super Touch 3-D (qv).
• Overscope [unknown].
• Overscope 70 [unknown]

• Panascope: 4-perf 35mm anamorphic. Aspect ratio: 2.00:1.
• Panavision: 4-perf 35mm anamorphic.
• Panavision 70 [see: Super Panavision 70]
• Panavision Super 70: 5-perf 65mm spherical. 5-perf 70mm release prints. Aspect ratio: 2.20:1. Also known as Panavision System 70.
• Panavision System 70: [see: Panavision Super 70]
• Pancrorama [unknown]
• Panoramascope: Possibly 5-perf 65mm spherical, though more likely 4-perf 35mm anamorphic blown-up to 70mm.
• Panoramico Alberini: 5-perf 70mm spherical. Aspect ratio: 2.52:1. Some sources list the format as simply  'Panoramico', but the exact name has yet to be confirmed.
• PanorVision [unknown]
• Pariscope: 4-perf 35mm anamorphic.
• PastelScope [unknown]
• Perspecta Sound: Directional sound format which employed sub-audible tones on otherwise mono soundtracks. When activated at specific points in the narrative, the entire soundtrack could be 'diverted' into a left, center or right speaker. This was only useful for certain kinds of audio effects and did not amount to a 'true' stereophonic format.
• Pirrovision: 2.35:1 image extracted from digital video, printed 4-perf 35mm anamorphic and/or D-Cinema (2.39:1 projection).
• PixarVision: CGI widescreen.
• Polyvision: Three 4-perf 35mm spherical images projected side by side to create a single seamless image. Aspect ratio: 4.00:1.
• Pornovision [unknown]
• Premiere Scope: 2-perf 35mm spherical.

• Ramovision [unknown]
• Rapiscope: 4-perf 35mm anamorphic.
• Realife: 4-perf 70mm spherical. Aspect ratio: 2.13:1.
• Regalscope: 4-perf 35mm anamorphic. This was simply CinemaScope (qv) by another name, credited on a series of black and white films produced throughout the 1950's.
• Reversalscope [unknown]
• RKO Scope [see entry in 'Miscellaneous and non-existent widescreen formats' (below)]

• Samcinescope: Anamorphic (35mm?).
• Scanoscope: 2-perf 35mm spherical.
• Schermiscope [unknown]
• Screenstage [unknown]
• Sensurround: Extreme low-frequency sound effect.
• Shawscope: 4-perf 35mm anamorphic. In the early 1980's, the Shaw Brothers movie studio continued to run the Shawscope fanfare at the beginning of their films, even when they were shot and released at 1.85:1. All the movies listed as Shawscope in this filmography were shot and released at 2.35:1 (2.39:1 projection from 1971 onwards).
• ShinScope: 4-perf 35mm anamorphic.
• Shintohoscope: 4-perf 35mm anamorphic.
• Shochiku GrandScope: 4-perf 35mm anamorphic. Some sources list the format as simply 'GrandScope'.
• Sovscope: 4-perf 35mm anamorphic.
• Sovscope 70: 5-perf 70mm spherical. Aspect ratio: 2.20:1.
• Spacevision: 3-D format in which the left-right images are placed above-and-below each other in the space normally occupied by a single 4-perf 35mm frame, creating two separate Techniscope (2-perf) images.
• Spectascope: 4-perf 35mm anamorphic.
• Spectrascope: 4-perf 35mm anamorphic.
• Spesmaiorscope [unknown]
• Spesvision [unknown]
• Stereocinescope: 4-perf 35mm anamorphic.
• Stereorama: 4-perf 35mm anamorphic.
• Stereo-vision: 3-D format utilized on the film SEPTEMBER STORM (1960) in which the left-right images are captured on separate strips of 4-perf 35mm spherical film using the Natural Vision 3-Dimension camera rig, with essential action contained within a 2.35:1 portion of the Academy frame(s). This portion is subsequently extracted and both images are printed - and projected - in dual-strip 35mm anamorphic. Not to be confused with the later StereoVision or Stereovision 70 formats (both qv).
• StereoVision: 3-D format in which the left-right images are placed above-and-below each other in the space normally occupied by a single 4-perf 35mm frame, creating two separate Techniscope (2-perf) images. Sometimes credited as 'Future Dimensions' and 'LazerVision'. There is an alternate version of the same process which creates a 1.37:1 image (projected at any ratio up to 1.85:1), but all StereoVision films listed in this filmography are 2.35:1 in origin.
• Stereovision 70: 3-D format in which the separate left-right images are placed adjacent to one another in the space normally occupied by a single 5-perf 65mm frame and subjected to an anamorphic squeeze, yielding a 2.20:1 aspect ratio. Release prints are configured in 5-perf 70mm. Also known as Hi Fi Stereo 70 (qv), Triarama (qv) and Super Cinema 3-D. Not to be confused with the later StereoVision 70 format, which yielded a 1.37:1 projectable image.
• Superama: 2.35:1 image extracted from Academy frame, printed 4-perf 35mm anamorphic.
• SuperCinescope: 4-perf 35mm anamorphic.
• Supercinevision [unknown]
• Superfilmscope [unknown]
• Super Panavision 70: 5-perf 65mm spherical. 5-perf 70mm release prints. Aspect ratio: 2.20:1. Some of the earliest films shot in this format are credited on-screen as 'Panavision 70'.
• Superpanorama 70: 5-perf 65mm spherical. 5-perf 70mm release prints. Aspect ratio: 2.20:1. Sometimes listed as MCS Superpanorama 70 or MCS-70.
• Superscope: 2.00:1 image extracted from full-aperture or Academy frame, printed 4-perf 35mm anamorphic.
• Superscope 235: 2.35:1 image extracted from full-aperture or Academy frame, printed 4-perf 35mm anamorphic.
• Super 16: For the purposes of this filmography, the phrase 'Super 16' is used to denote a 2.35:1 image extracted from a 1-perf Super 16 frame, printed 4-perf 35mm anamorphic and/or D-Cinema (2.39:1 projection).
• Super Technirama 70: Not a 65mm origination format, despite appearances to the contrary! Such films were shot in 'standard' Technirama (8-perf 35mm anamorphic), rendering a 2.35:1 aspect ratio. A 2.21:1 portion of the image (2.20:1 from the late 1970's onward) was subsequently extracted and 'unsqueezed' before being printed in 5-perf 70mm spherical. The results were billed as 'Super Technirama 70', though some early titles credit nothing more than 'Technirama 70' on-screen.
• Super Techniscope: [see: Super 35]
• Super 35: 2.35:1 image extracted from Academy frame, printed 4-perf 35mm anamorphic and/or D-Cinema (2.39:1 projection). Also known as Super Techniscope and System 35.
• Super Totalscope: 4-perf 35mm anamorphic.
• Super Totalvision: 4-perf 35mm anamorphic.
• Super Touch 3-D: Stereoscopic format in which the separate left-right images are stacked above/below in the space normally occupied by a single 4-perf 35mm frame, creating two separate Techniscope (2-perf) images. Sometimes promoted under the names ‘Super 3-D’ or ‘Ultra-Cubic 3-D’. Later renamed Optimax III (qv) following a change in the technical specifications.
• System 35 [see: Super 35]

• Tai-Chang Scope: 4-perf 35mm anamorphic.
• Tang's Scope: 4-perf 35mm anamorphic.
• Technirama: 8-perf 35mm anamorphic.
• Technirama 70 [see: Super Technirama 70]
• Techniscope: 2-perf 35mm spherical. Invented in Italy by Technicolor's European wing, this format proved so popular throughout the 1960's that Technicolor was unable to process and print the sheer number of films photographed in 2-perf. As a consequence, they licensed other labs to develop Techniscope movies under the trade name Cromoscope (qv). This has led to some confusion, since a number of titles were credited as Cromoscope in Europe, where they were printed and developed by independent labs, only to feature a Techniscope credit in the US (and other territories) where the same film was processed by local Technicolor facilities. Throughout the filmography, I've opted to list the format as Cromoscope if that's what was credited in the film's primary country of origin, regardless of whether the production was credited as Techniscope elsewhere.
• Techniscope (over-under) 3-D: All-purpose phrase which refers to a stereoscopic format in which the left-right images are placed above-and-below each other in the space normally occupied by a single 4-perf 35mm frame, creating two separate Techniscope (2-perf) images.
• Techniscope II: 2-perf 35mm spherical.
• Technovision: 4-perf 35mm anamorphic.
• Thrillarama: Two 4-perf 35mm spherical images projected side by side to create a single seamless image. Aspect ratio: 2.66:1.
• Tiipscope: 4-perf 35mm anamorphic. The 'Tiip' in this trade-name is an acronym for the Filippino production company which used the format on various films: Tagalog Ilang-Ilang Productions.
• Todd-AO: 5-perf 65mm spherical. 5-perf 70mm release prints. Aspect ratio: 2.20:1.
• Todd-AO 35: 4-perf 35mm anamorphic.
• Todd-70: 5-perf 65mm spherical. 5-perf 70mm release prints. Aspect ratio: 2.20:1.
• Toeiscope: 4-perf 35mm anamorphic.
• Tohoscope: 4-perf 35mm anamorphic.
• Totalscope: 4-perf 35mm anamorphic.
• Totalscope Super/100: 4-perf 35mm anamorphic.
• Totalvision: 4-perf 35mm anamorphic.
• Triangle 3-D: Anaglyphic 3-D system. Aspect ratio varies from film to film, though any such production listed in this filmography is 2.35:1 in origin (2.39:1 projection from 1971 onwards).
• Triarama: 3-D format in which the separate left-right images are placed adjacent to one another in the space normally occupied by a single 5-perf 65mm frame and subjected to an anamorphic squeeze, yielding a 2.20:1 aspect ratio. Release prints are configured in 5-perf 70mm. Also known as Hi Fi Stereo 70 (qv), Stereovision 70 (qv) and Super Cinema 3-D. Not to be confused with another format known as Triarama, devised in the early 1950's, in which two 1-perf 16mm spherical images were projected side by side to create a single seamless image (that format isn't listed here, since no feature-length items were ever shot in this process).
• Triptych: Though the word 'triptych' means three images side by side, the 'Triptych' in this filmography refers to a process employed on the film AKA (2002), in which three separate 1.78:1 images - showing three different angles of the same scene - were printed side by side on 4-perf 35mm anamorphic film, creating a super-wide (4.00:1) ratio within the 2.35:1 frame (2.39:1 projection).
• Tronchet Scope: 1-perf 16mm anamorphic.
• Tru 3-D: Stereoscopic CGI animation.
• TS Scope: 4-perf 35mm anamorphic.

• Über-Scope: The name coined by director Gust Van Den Berghe for the format he employed on his 2011 film BLUE BIRD, which he shot with HD cameras, the image framed and printed at a 3.00:1 aspect ratio. The ultra-wide image was letterboxed within 2.39:1 release prints.
• Ultra Panavision 70: 5-perf 65mm anamorphic. 5-perf 70mm release prints. Aspect ratio: 2.76:1. Originally known as MGM Camera 65 (qv).
• Ultrascope: 4-perf 35mm anamorphic.
• Ultra Vision: 3-D format in which the left-right images are filmed with separate cameras using Techniscope (2-perf 35mm spherical) film. The images are printed in single-strip/over-under format in the space normally occupied by a single 4-perf 35mm frame.
• Uniscope: 4-perf 35mm anamorphic.
• Univision [see: Univisium]
• Univisium: 2.00:1 image extracted from Academy frame, printed 4-perf 35mm anamorphic and/or D-Cinema. Listed in some English-language sources as Univision.
• Uraniascope [unknown]

• Vistarama: 4-perf 35mm anamorphic.
• Vistascope: 4-perf 35mm anamorphic. This format was only ever credited on a single feature film (ATLAS, 1961), but the trade name was subsequently employed on ad-mats for two spherical (1.85:1) features - THE LAST WOMAN ON EARTH (1962) and THE TERROR (1963) - for promotional purposes. Be aware that the same trade name was used for an anamorphic lens with a 1.5x squeeze ratio, made available to amateur filmmakers in the US during the late 1950's, though this was never used on a professional feature film.
• Vistasonic: 4-channel optical stereo.
• VistaVision: 8-perf 35mm spherical. The primary aspect ratio was 1.85:1, though films shot in VistaVision could be projected at any ratio between 1.66:1 and 2.00:1.
• Vitascope: 5-perf 65mm spherical. Aspect ratio: 2.05:1.

• WarnerScope: There are two different versions of this particular format. If '(A)' is listed in parentheses directly afterward, then the film was shot in 4-perf 35mm anamorphic. If '(S)' is listed directly afterward, that means the 2.35:1 image was extracted from an Academy frame and printed 4-perf 35mm anamorphic. Where no such designation is given, that means the photographic configuration is unknown and the entry will be marked with an asterisk, awaiting confirmation one way or the other.
• Warwickscope: 2.35:1 image extracted from Academy frame, printed 4-perf 35mm anamorphic.
• Widescreen (cel animation): All-purpose phrase which refers to a cel-animated film whose photographic process is unknown.
• Wonderama: 4-perf 35mm format in which an anamorphic image - filmed in another format, such as Technirama - is 'unsqueezed' and split down the middle. The two halves are configured side by side ('toe-to-toe' formation) in the space normally occupied by a single 4-perf 35mm frame. A prism on the projector rearranges the images into a 2.64:1 projectable frame. Originally known as ARC 120, and sometimes billed as Miracle ARC 120. 
• Woojinscope: 4-perf 35mm anamorphic.

• Yangtze Scope: 4-perf 35mm anamorphic.
• Yulin Scope: 4-perf 35mm anamorphic.

Miscellaneous and non-existent screen formats:

• 2.35 Research PLC: This was a subsidiary company of Joe Dunton Cameras Ltd which manufactured anamorphic lenses known as 2.35 Research (qv). However, many sources confuse the name of the company with the lenses they produced (PLC stands for 'Public Limited Company').

• Actionscope: Non-existent format, credited on ad-mats for a number of Japanese action movies released in the US throughout the 1970's.

• Cinepanorama: Anglicized name for the Kinopanorama (qv) format.
• CineVision: Non-existent format, used as promotional ballyhoo on some ad-mats for 70mm prints of MEDITERRANEAN HOLIDAY, the reworked US version of FLYING CLIPPER: TRAUMREISE UNTER WEIßEN SEGELN (1962).
• Colorscope: Non-existent format, a conflation of the words 'Color' and 'Scope', used extensively on US and international ad-mats throughout the 1960's, even when the film itself was shot in a bona fide scope format (Totalscope, Techniscope, etc.). The name 'Colorscope' was also used to promote movies photographed and exhibited at ratios between 1.66:1 and 1.85:1.

• Dimensionscope: Non-existent format, used for promotional purposes on some films shot in the Optimax III (3-D) process.
• Dragarama: A joke name for a non-existent format, credited on THE ADVENTURES OF PRISCILLA QUEEN OF THE DESERT (1994).
• Dynamation: Non-existent format, credited on various movies featuring stop-motion animation by visual effects maestro Ray Harryhausen.

• Hi-Fi Scope: Non-existent format, used for promotional purposes only.

• Magiscope: Non-existent format, used for promotional purposes only.
• Metroscope: Not a 2.35:1 widescreen process, despite being credited as such in many sources. These films were shot with spherical lenses and a hard matte, which meant they could be projected at a variety of ratios between 1.66:1 and 2.00:1.

• Nudiscope: Non-existent format, used for promotional purposes on some ad-mats for the 1958 film NUDIST PARADISE (qv).

• Panoramic [see: Panoramica]
• Panoramica: Also known as 'Panoramic'. Non-existent format, credited on a number of European ad-mats throughout the 1960's and 70's to denote 'widescreen' movies shot and exhibited anywhere betweem 1.66:1 and 1.85:1.

• Real-a-Rama: Promotional name for the Quadrophonic Sound format employed on the 1977 martial arts drama DYNASTY.
• RKO Scope: 2.35:1 image extracted from Academy frame, printed 4-perf 35mm anamorphic. This format was employed in the UK only, and involved the cropping of imported US films produced by RKO Studios which had been composed for ratios between 1.37:1 and 1.85:1 (and released that way domestically).

• Storybookscope: Non-existent format, used for promotional purposes only.
• Superactionscope: Non-existent format, used for promotional purposes on US ad-mats for BRUCE AND THE IRON FINGER (1979).
• Super Cinerama: Not a widescreen format but an exhibition format similar to 'regular' Cinerama which instead used larger floor-to-ceiling screens for enhanced visual sensation.
• SuperCinevision: Non-existent format, used for promotional purposes only.
• Super Panavision Process: Non-existent format, used for promotional purposes only.
• Super 3-D: Non-existent format, used for promotional purposes on some films shot in the Super Touch 3-D (qv) process.

• Ultra-Cubic 3-D: Non-existent format, used for promotional purposes on some films shot in the Super Touch 3-D (qv) process.
• Ultrapanoramica: Non-existent format, credited on a number of European ad-mats throughout the 1960's and 70's to denote movies shot and exhibited anywhere between 1.66:1 and 2.35:1.

• Vitamotion: Non-existent format, used for promotional purposes only.

• Widescope: Non-existent format, used for promotional purposes on a number of European films released in the US throughout the 1960's and 70's. However, this is not to be confused with a genuine 'Widescope' format developed in the 1920's, originally conceived as two interlocked 4-perf 35mm frames, projected side by side onto separate screens to create a single seamless image. It was subsequently reconfigured as a single-strip (5-perf) 57mm spherical format. However, no feature-length items were ever shot in 'genuine' Widescope.
• Wing Scope: Not a photographic format - this is actually the name of a Hong Kong movie company!