head in a similar manner to Super 8. The only difference was that film manufacturers initially had to manufacture the film with a rebated area for the sound stripe. This was because the pressure plate ensuring good film registration was part of the camera and not the cartridge. The sound film had to be the same overall thickness as silent film which the camera could also accept. Although the rebated stock was more expensive to manufacture, a balance stripe on the opposite side of the film was rendered unnecessary and offset the cost. Fuji later developed a thinner film that did not require rebating, but the balance stripe was required because the thickness of the sound stripe was almost the same as the film base. Straight Eight A number of camera companies offered single-width 8 mm film in magazines or spools, but the format faded when Kodak introduced Kodachrome, as this was only available in the Double 8 mm format. The first single-run 8 mm film was offered in 1935 with a Bell & Howell movie camera Filmo 127-A called Straight Eight. Single-width 8 mm film revived in the United States by Bolsey-8 in 1956 and continued for some time outside the United States, with Germany between 1937 and 1950s and Soviet Union KOMZ Ekran movie cameras and Svema offering reversal film in 1960s. UltraPan 8 Introduced in 2011 by Nicholas Kovats and implemented by Jean-Louis Seguin, this format uses Standard 8 film in a modified Bolex (H16 or H8) camera. Similar to the Techniscope cameras of the 1960s, UltraPan 8 achieves wider aspect ratios generally reserved for camera systems with anamorphic lenses through manipulating film negative exposure instead of light capture. The area of film exposed per frame is 10.52 mm × 3.75 mm, having an aspect ratio of 2.8:1. There are effectively two UP8 frames for every one 16 mm frame. The design means there is no waste of film emulsion for the targeted aspect ratio. Earlier versions of this general idea date from the 1950s and exactly the same design occurs in implementations of the 1960s and 1970s. The current implementation of the idea gains impetus from the relative ease with which digital delivery systems can handle what would otherwise have required, in the past, either a dedicated mechanical projector or the transfer to another film format for which projectors were already available. See also List of