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).

[1] 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.

Gottschalk developed a lens system using front-mounted prisms to impart a slight 1.25x squeeze onto a 5-perf 65 mm negative, resulting in a projected ratio of 2.76:1.

The Todd-AO system was shot at 30 frames per second (fps), while Ultra Panavision 70 and MGM Camera 65 used the industry standard of 24 fps, and while the original Todd-AO process included the use of a deeply curved screen similar to that used for Cinerama (with fisheye optics to recreate its peripheral vision),[3] its narrower, non-anamorphic 2.20:1 aspect ratio was incompatible with true Cinerama screens without cropping.

[13] Additionally, several films have been recorded digitally in conjunction with Ultra Panavision 70 lenses: Rogue One (2016), Bright (2017), Avengers: Infinity War (2018), Avengers: Endgame (2019), The King (2019), Wicked (2024) and Wicked: For Good (2025) with the Arri Alexa 65 camera, The Hate U Give (2018) and Like a Boss (2020) with the Panavision Millennium DXL camera, and A Haunting in Venice (2023) and Beetlejuice Beetlejuice (2024) with the Sony Venice.