Ultra Panavision 70 and MGM Camera 65 were, from 1957 to 1966, the marketing brands that identified motion pictures photographed with Panavision's anamorphic movie camera lenses on 65 mm film. Ultra Panavision 70 and MGM Camera 65 were shot at 24 frames per second (fps) using anamorphic camera lenses. Ultra Panavision 70 and MGM Camera 65's anamorphic lenses compressed the image 1.25 times, yielding an extremely wide aspect ratio of 2.76:1 (when a 70 mm projection print was used). Ultra Panavision saw much less use than its sibling, the more popular Super Panavision 70, and was only used on ten films from 1957 to 1966. However, nearly fifty years later, Robert Richardson famously resurrected Ultra Panavision 70 after the lens test he came to do at the Panavision headquarters for the upcoming project with Quentin Tarantino, where he discovered that the lenses and equipment were still intact. Tarantino was fascinated by this and was able to refurbish the lenses for use in his next film, The Hateful Eight; which was shot entirely on 65mm film using Ultra Panavision lenses, the first film to do so since Khartoum. Tarantino also released the film as a roadshow release, and this was the first time there were widely circulated 70mm film prints to theaters with 70mm projectors since 1992's Far and Away. This ultimately led to a resurgence in the use of Ultra Panavision lenses, which have now been used (albeit with digital cameras) to shoot blockbusters such as Rogue One and Avengers: Endgame. History Metro-Goldwyn-Mayer (MGM), like other American motion picture studios, briefly experimented with a variety of widescreen formats in the late 1920s. In 1928, shortly before the Great Depression hit the film industry, William Fox of Fox Film Corporation developed the Fox Grandeur 70mm widescreen format and cameras through his partnership with the Fox-Case Corp. In 1929, Fox Film Studios introduced the Fox Grandeur widescreen photographic system which used a film 70 mm wide and had an aspect ratio of 2.13:1. The Fox Grandeur 70mm cameras were manufactured by Mitchell Camera Corp, and were designated as Mitchell FC cameras (not to be confused with the 1957 and later Mitchell 2nd generation FC and BFC 65mm widescreen camera systems). MGM licensed the Grandeur system which they called "Realife", purchased 4 of the Mitchell FC 70mm Grandeur cameras in early 1930, but abandoned the format after just two films, Billy the Kid