left, right or both directions at once. Because of the standard 35 mm-size film, CinemaScope and its stereophonic sound was capable of being retrofitted into existing theaters. CinemaScope 55 was created by the same company in order to use a larger form of the system (55 mm instead of 35 mm) to allow for greater image clarity onscreen, and was supposed to have had 6-track stereo instead of four. However, because the film needed a new, specially designed projector, the system proved impractical, and the two films made in the process, Carousel and The King and I, were released in 35 mm CinemaScope reduction prints. To compensate, the premiere engagement of Carousel used a six-track magnetic full-coat in an interlock, and a 1961 re-release of The King and I, featured the film "printed down" to 70 mm, used a six-track stereo soundtrack as well. Eventually, 50 complete sets of combination 55/35 mm projectors and penthouse reproducers were completed and delivered by Century and Ampex, respectively, and 55 mm release print sounding equipment was delivered by Western Electric. Several samples of 55 mm sound prints can be found in the Sponable Collection at the Film and Television Archives at Columbia University. The subsequently abandoned 55/35 mm Century projector eventually became the Century JJ 70/35MM projector. Todd-AO After this disappointing experience with their proprietary "wide gauge" system, Fox purchased the Todd-AO system and re-engineered it into a more modern 24 fps system with brand-new 65MM self-blimped production cameras (Mitchell BFC ... "Blimped Fox Camera") and brand-new 65MM MOS cameras (Mitchell FC ... "Fox Camera") and brand-new Super Baltar lenses in a wide variety of focal lengths, first employed on South Pacific. Essentially, although Todd-AO was also available to others, the format became Fox's premier origination and presentation apparatus, replacing CinemaScope 55. Current DVDs of the two CinemaScope 55 feature titles were transferred from the original 55mm negatives, often including the separate 35MM films as extras for comparison. Back to mono Beginning in 1957, films recorded in stereo (except for those shown in Cinerama or Todd-AO) carried an alternate mono track for theatres not ready or willing to re-equip for stereo. From then until about 1975, when Dolby Stereo was used for the first time in films, most motion pictures even some from which stereophonic soundtrack albums were made, such as Zeffirelli's Romeo and Juliet were still released in monaural sound, stereo being