film is wasted, because the cropped top and bottom are usually never meant to be shown, unless it was well protected for Full Screen presentation. 3-perf and 2-perf are only used in the origination and post-production transfer process. 35 mm 2-perf 2-perf camera systems use only 2 perforations per frame on 35 mm film, which gives an aspect ratio close to the 2.39:1 aspect ratio used in anamorphic prints. It was first proposed conceptually around 1930, but was not put into practice until 1961, when Techniscope was developed at Technicolor's Italian branch. It has recently been brought up again with the advent of higher quality, lower grain film stocks as well as digital intermediate post-production methods which eliminate optical blowups and thus improve quality. While in the recent past, some companies have offered custom conversions of camera equipment to 2-perf, it appears that camera manufacturers are now poised to support the format. Arri made 2-perf movement blocks for their Arricam and Arriflex 235 cameras available for rental in March 2007, while Aaton's Penelope camera, released in October 2008, was the first camera specifically designed for 2-perf usage (as well as 3-perf). 3-perf In the early 1980s, Swedish cinematographer Rune Ericson collaborated with Panavision on the concept of creating a 3-perf mechanism for motion picture cameras. 3-perf minimized the problem of wasted film by changing the camera gate and shutter mechanism so that each frame is 3 perforations high instead of the standard 4-perforations. The 3-perf image's aspect ratio is roughly 1.78:1, which makes it both ideal for widescreen television and very close to 1.85:1 without losing any image outside this area to waste. Because of the smaller frame, the camera effectively runs 25% slower, yielding 25% savings on film stock; the camera will run more quietly because less film is moved through the camera per frame; and the Super 35 variant allows for a larger negative area, which can help compensate for increased grain when using higher-speed film stocks. In the late 1990s, noted cinematographer Vittorio Storaro proposed a film standard known as Univisium (also called Univision), which advocates 3-perf Super 35 to create a 2.00:1 aspect ratio. Disadvantages of 3-perf and 2-perf The only disadvantage of 3-perf and 2-perf is that if it is to be projected theatrically, it needs to be transferred back to a 4-perf system, which typically means a film print with black cropping on the