reserved almost exclusively for expensive musicals such as West Side Story, My Fair Lady and Camelot, or epics such as Ben-Hur and Cleopatra. Stereo was also reserved for dramas with a strong reliance on sound effects or music, such as The Graduate, with its Simon and Garfunkel score. Dolby Stereo Today, virtually all films are released in stereophonic sound as the Westrex Stereo Variable-Area system developed in 1977 for Star Wars, which was no more expensive to manufacture in stereo than it was for mono. The format employs the same Western Electric/Westrex/Nuoptix RA-1231 recorder, and coupled with QS quadraphonic matrixing technology licensed to Dolby Labs from Sansui, this SVA system can produce the same Left, Center, Right and Surround sound of the original CinemaScope system of 1953 by using a single standard-width optical track. This important development finally brought stereo sound to so-called "flat" (non-anamorphic) widescreen films, most commonly projected at aspect ratios of 1.75:1 or 1.85:1. Producers often took advantage of the six magnetic soundtracks available for 70mm film release prints, and productions shot in either 65MM or to save money, in 35MM and then blown up to 70MM. In these instances, the 70MM prints would be mixed for stereo, while the 35MM reduction prints would be remixed for mono. Some films shot in 35 mm, such as Camelot, featured four-track stereophonic sound and were then blown up to 70 mm so that they could be shown on a giant screen with six-track stereophonic sound. Unfortunately however, many of these presentations were only pseudo stereo, utilizing a somewhat artificial six-track panning method. A process known somewhat derogatorily as the Columbia Spread was often used to synthesize Left Center and Right Center from a combination of Left and Center and Right and Center, respectively, or, for effects, the effect could be "panned" anywhere across the five stage speakers using a one-in/five-out pan pot. Dolby, who did not approve of this practice, which results in loss of separation, instead used the Left Centre and Right Centre channels for LFE (low-frequency enhancement) utilizing the bass units of the otherwise redundant intermediate front speakers, and later the unused HF capacity of these channels to provide for stereo surround in place of the mono surround. Dolby Stereo was succeeded by Dolby Digital 5.1 in the cinema, which retained the Dolby Stereo 70mm 5.1 channel layout, and more recently with the introduction of digital cinema,