35 mm, such as VistaVision, SuperScope, and Technirama, most of which ultimately became obsolete. VistaVision, however, would be revived decades later by Lucasfilm and other studios for special effects work, while a SuperScope variant became the predecessor to the modern Super 35 format that is popular today. Super 35 The concept behind Super 35 originated with the Tushinsky Brothers' SuperScope format, particularly the SuperScope 235 specification from 1956. In 1982, Joe Dunton revived the format for Dance Craze, and Technicolor soon marketed it under the name "Super Techniscope" before the industry settled on the name Super 35. The central driving idea behind the process is to return to shooting in the original silent "Edison" 1.33:1 full 4-perf negative area (), and then crop the frame either from the bottom or the center (like 1.85:1) to create a 2.40:1 aspect ratio (matching that of anamorphic lenses) with an area of . Although this cropping may seem extreme, by expanding the negative area out perf-to-perf, Super 35 creates a 2.40:1 aspect ratio with an overall negative area of , only less than the 1.85:1 crop of the Academy frame (). The cropped frame is then converted at the intermediate stage to a 4-perf anamorphically squeezed print compatible with the anamorphic projection standard. This allows an "anamorphic" frame to be captured with non-anamorphic lenses, which are much more common. Up to 2000, once the film was photographed in Super 35, an optical printer was used to anamorphose (squeeze) the image. This optical step reduced the overall quality of the image and made Super 35 a controversial subject among cinematographers, many who preferred the higher image quality and frame negative area of anamorphic photography (especially with regard to granularity). With the advent of digital intermediates (DI) at the beginning of the 21st century, however, Super 35 photography has become even more popular, since everything could be done digitally, scanning the original 4-perf 1.33:1 (or 3-perf 1.78:1) picture and cropping it to the 2.39:1 frame already in-computer, without anamorphosing stages, and also without creating an additional optical generation with increased grain. This process of creating the aspect ratio in the computer allows the studios to perform all post-production and editing of the movie in its original aspect (1.33:1 or 1.78:1) and to then release the cropped version, while still having the original when necessary (for Pan & Scan, HDTV transmission, etc.). 3-perf The non-anamorphic widescreen