introduced a digital projection system in the late 2000s and most IMAX venues have migrated to a digital setup. 70 mm 3D early use The first commercial introduction of 70 mm single projector 3D was the 1967 release of Con la muerte a la espalda, a Spanish/French/Italian co-production which used a process called Hi-Fi Stereo 70, itself based on a simplified, earlier developed soviet process called Stereo-70. This process captured two anamorphic images, one for each eye, side by side on 65 mm film. A special lens on a 70 mm projector added polarization and merged the two images on the screen. The 1971 re-release of Warner Bros.' House of Wax used the side-by-side StereoVision format and was distributed in both anamorphically squeezed 35 mm and deluxe non-anamorphic 70 mm form. The system was developed by Allan Silliphant and Chris Condon of StereoVision International Inc., which handled all technical and marketing aspects on a five-year special-royalty basis with Warner Bros. The big screen 3D image was both bright and clear, with all the former sync and brightness problems of traditional dual 35 mm 3D eliminated. Still, it took many years more before IMAX began to test the water for big-screen 3D, and sold the concept to Hollywood executives. IMAX 3D Hollywood has released films shot on 35 mm as IMAX blow-up versions. Many 3D films were shown in the 70 mm IMAX format. The Polar Express in IMAX 3D 70 mm earned 14 times as much, per screen, as the simultaneous 2D 35 mm release of that film in the fall of 2004. Technical specifications Standard 65 mm (5/70) (Todd-AO, Super Panavision) spherical lenses 5 perforations/frame (1 perforation = 0.1875", thus 1 frame of 70 mm = 0.9375" or 15/16") 42 frames/meter (12.8 frames/ft) 34.29 meters/minute (112.5 ft/minute) vertical pulldown 24 frames/second camera aperture: 52.63 by 23.01 mm (2.072 by 0.906 in) projection aperture: 48.56 by 22.10 mm (1.912 by 0.870 in) 305 m (1000 feet), about 9 minutes at 24 frame/s = 4.5 kg (10 pounds) in can aspect ratio: 2.2:1 Ultra Panavision 70 (MGM Camera 65) Same as Standard 65mm except projection aperture: 48.59 by 22.05 mm (1.913 by 0.868 in) MGM Camera 65 lenses built by Panavision employed a square-shaped, double wedge-prism anamorphic attachment in front of a spherical objective lens. By the time of Mutiny on the Bounty (1962) Panavision had developed a new set of