complain of a loss in quality, due to less negative area used and more lab intermediate steps (if done optically). Aspect ratio Super 35 uses standard "spherical" camera lenses, which are faster, smaller, and cheaper to rent – a factor in low-budget production – and provide a wider range of lens choices to the cinematographer. The chief advantage of Super 35 for productions is its adaptability to different release formats. Super 35 negatives can be used to produce high-quality releases in any aspect ratio, as the final frame is extracted and converted from the larger full frame negative. This also means that a full-frame video release can actually use more of the frame than the theatrical release (Open matte), provided that the extra frame space is "protected for" during filming. Generally the aspect ratio(s) and extraction method (either from a common center or common topline) must be chosen by the director of photography ahead of time, so the correct ground glass can be created to let the camera operator see where the extracted frame is. Super 35 ratios have included: 1.33:1 (4:3 full screen video) 1.78:1 (16:9, widescreen video) 1.85:1 ("flat" print) (Super 1.85) 2.00:1 (Univisium) 2.20:1 (70mm print) 2.39:1 (anamorphic print) 1.66:1 and 1.75:1 have been indicated in some Super 35 frame leader charts, although generally they have not been used for Super 35 productions due to both relative lack of usage since the rise of Super 35 and their greater use of negative frame space by virtue of their increased vertical dimension. Theoretically, 2.39:1 release prints made from Super 35 should have slightly lower technical quality than films produced directly in the anamorphic format. Because part of the Super 35 image is thrown away when printing to this format, films originated with anamorphic lenses use a larger negative area. Super 35 has continually been popular with television shows, due to the lack of a need for a final release print; with the advent of widescreen television sets, 3-perf Super 35 – with a native 1.78:1 (16:9) ratio – was widely used for widescreen television shows until the advent of digital shooting. 3-perf Super 35 was also used for some time for feature films in 1.85:1 & 2.39:1, and the digital intermediate process made it more attractive because it allowed the optical processing formerly required to be skipped entirely. Examples {| class="wikitable" |- ! Director ! Year ! Title