Super 35 (originally known as Superscope 235) is a motion picture film format that uses exactly the same film stock as standard 35 mm film, but puts a larger image frame on that stock by using the space normally reserved for the optical analog sound track. History Super 35 was revived from a similar Superscope variant known as Superscope 235, which was originally developed by the Tushinsky Brothers (who founded Superscope Inc. in 1954) for RKO in 1954. The first film to be shot in Superscope was Vera Cruz, a western film produced by Hecht-Lancaster Productions and distributed through United Artists. When cameraman Joe Dunton was preparing to shoot Dance Craze in 1982, he chose to revive the Superscope format by using a full silent-standard gate and slightly optically recentering the lens port (to adjust for the inclusion of the area of the optic soundtrack -the gray track on left side of the illustration). These two characteristics are central to the format. It was adopted by Hollywood starting with Greystoke in 1984, under the format name Super Techniscope. It also received much early publicity for making the cockpit shots in Top Gun possible, since it was otherwise impossible to fit 35 mm cameras with large anamorphic lenses into the small free space in the cockpit. Later, as other camera rental houses and labs started to embrace the format, Super 35 became popular in the mid-1990s, and is now considered a ubiquitous production process, with usage on well over a thousand feature films. It is often the standard production format for television shows, music videos, and commercials. Since none of these require a release print, it is unnecessary to reserve space for an optical soundtrack. When composing for 1.85:1, it was known as Super 1.85, since it was larger than standard 1.85. When composing for 2.39:1, it was often typical to employ either a "common center", which keeps the 2.39 extraction area at the center of the film that results in extra headroom if opened up to 4:3 or 16:9, or a "common top", which shifts the 2.39 extraction area upwards on the film so that it shared a common top line with a centered 1.85:1 frame. This allowed frame compositions with actors to remain relatively unaffected when producing a 4:3 or 16:9 full screen version with similar headrooms. The downside with common top extraction is that lens flares may not