65mm is a large-format negative stock: cameras expose 65mm film that is printed to 70mm for theatrical projection.
Freddie Young used the 65mm format to capture the endless expanses of the Arabian desert with breathtaking sharpness and depth – the vast image area made the landscape itself the dramatic protagonist.
Kubrick chose the 65mm format for his vision of space, rendering the geometric purity of space stations and the infinite blackness of the cosmos with maximum image resolution and depth of detail.
Tarantino shot on analog 65mm Ultra Panavision 70, sparking a renaissance of the large format – the extreme anamorphic lens produced an aspect ratio of 2.76:1, demonstrating the format's unrivalled image quality.
Hoyte van Hoytema photographed black-and-white sequences on IMAX 65mm film for the first time, exploiting the format's enormous detail density to convey the psychological intensity of the atomic bomb with physical immediacy.
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"65mm" refers to a large-format film camera recording format (English: large format): the camera negative is 65 mm wide – almost twice as wide as standard 35-mm film. It's important to distinguish it from "70mm": 65 mm is the negative that runs through the camera, while 70 mm is the print or projection format. The additional 5 mm on the 70-mm print historically accommodated four magnetic stripes for multichannel sound. Colloquially, both terms are often used interchangeably ("shot on 65/70 mm").
The appeal of the format lies in its significantly larger negative area: it's about 3.5 times larger than the classic 35-mm format. This results in very fine resolution, low grain, great depth of field, and a characteristic gradation of sharpness and blur. 65 mm is primarily used for epic feature films, landscape and large-scale shots, as well as for IMAX productions.
The dimensions depend heavily on the number of perforations per frame. Two common variants:
| Format | Perforations/Frame | Image Area (approx.) | Aspect Ratio |
|---|---|---|---|
| Standard 65 mm (vertical) | 5-perf | 52.63 × 23.01 mm | 2.2:1 |
| IMAX (horizontal film travel) | 15-perf | 70.41 × 52.63 mm | 1.43:1 |
Classic photochemical 65-mm systems include Super Panavision 70 (spherical) and Ultra Panavision 70 (anamorphic), as well as camera systems like the Panavision System 65 and the ARRI 765. IMAX uses its own 15-perf intermittent movement running horizontally through the camera and projector on 65/70-mm film.
Digital successors in large format include the ARRI ALEXA 65 and ALEXA 265, as well as the Blackmagic URSA Cine 17K. These sensors electronically replicate the 65-mm image area without exposing film stock.
Shooting on 65-mm is complex: the cameras are large and heavy, which impacts grip and rigging (sturdier tripods, dollies, cranes, and remote heads). Material consumption is high, and magazines hold less running time per roll than with 35 mm. Due to the larger negative area, the depth of field is shallower, requiring precise focus pulling on set. From a lighting perspective, the fine, low-grain negative benefits from cleanly controlled light, as the finest details and tonal gradations are recorded.
As a cinematographer, I appreciate the 65mm format for its unparalleled image quality and extended dynamic range, which preserves even the finest details in shadows and highlights. However, the larger, heavier camera systems require careful planning of camera movement and more stable tripod or crane systems. The ability to go to extreme magnifications for projection without any loss of quality makes every extra effort worthwhile.
For me as a director, 65mm offers an unparalleled opportunity to visually overwhelm the audience and draw them into the story. I consciously choose this format for scenes intended to convey epic scope or emotional intensity. Collaboration with the cinematographer becomes even more crucial, as every shot must be optimally composed to exploit the format's potential.
From a production standpoint, 65mm means considerable extra costs due to more expensive film stock, specialized camera equipment, and more elaborate post-production. However, the investment pays off for large productions through the premium cinema experience and corresponding marketing opportunities. Additionally, I have to secure cinemas with appropriate 70mm projection technology for distribution.
1. Zu welchem Department gehört „65mm"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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