number of venues getting temporary or permanent 70 mm film projectors in order to be able to screen these titles. Quentin Tarantino, in particular, led a successful campaign to have the equipment required to show The Hateful Eight (his 8th film) in Ultra Panavision installed in 100 cinemas worldwide. Blow-ups The 35 mm to 70 mm "blow-up" process produces 70 mm release prints from 35 mm negatives, so that films shot on the smaller format could benefit from 70 mm image and sound quality. This process began in the 1960s with titles like The Cardinal (1963) and continues up until the present day, with the height of its popularity being in the 1980s. These enlargements often provided richer colors, and a brighter, steadier and sharper (though often grainier) image, but the main benefit was the ability to provide 6-channel stereophonic sound as most theaters before the mid-70s (before the advent of Dolby A) were screening 35 mm prints with single channel monaural sound. However these "blow-ups" rarely used the full six channels of the Todd-AO system and instead used the four-track mixes made for 35 mm prints, the additional half-left and half-right speakers of the Todd-AO layout being fed with a simple mix of the signals intended for the adjacent speakers (known as a "spread") or simply left blank. If a 70 mm film was shown in a Cinerama theatre, the Cinerama sound system was used. From 1976 onwards, many 70 mm prints used Dolby noise reduction on the magnetic tracks but Dolby disapproved of the "spread" and instead re-allocated the 6 available tracks to provide for left, center and right screen channels, left and right surround channels plus a "low-frequency enhancement" channel to give more body to low-frequency bass. This layout came to be known as "5.1" (the "point one" is the low-frequency enhancement channel) and was subsequently adopted for digital sound systems used with 35 mm. In the 1980s the use of these "blow-ups" increased with large numbers of 70 mm prints being made of some blockbusters of the period such as the 125 70 mm prints made of The Empire Strikes Back (1980). However the early 1990s saw the advent of digital sound systems (Dolby Digital, DTS and SDDS) for 35 mm prints which meant that 35 mm could finally match 70 mm for sound quality but at a far lower cost. Coupled with the rise of