# Super 35

Super 35 (originally known as Superscope 235) is a motion picture film format that uses exactly the same film stock as standard 35 mm film, but puts a larger image frame on that stock by using the space normally reserved for the optical analog sound track.

## History

Super 35 was revived from a similar Superscope variant known as Superscope 235, which was originally developed by the Tushinsky Brothers (who founded Superscope Inc. in 1954) for RKO in 1954. The first film to be shot in Superscope was Vera Cruz, a western film produced by Hecht-Lancaster Productions and distributed through United Artists.
When cameraman Joe Dunton was preparing to shoot Dance Craze in 1980, he chose to revive the Superscope format by using a full silent-standard gate and slightly optically recentering the lens port (to adjust for the inclusion of the area of the optical soundtrack – the gray track on left side of the illustration). These two characteristics are central to the format.
It was adopted by Hollywood starting with Greystoke in 1984, under the format name Super Techniscope. It also received much early publicity for making the cockpit shots in Top Gun possible, since it was otherwise impossible to fit 35 mm cameras with large anamorphic lenses into the small free space in the cockpit. Later, as other camera rental houses and labs started to embrace the format, Super 35 became popular in the mid-1990s, and soon thereafter became a ubiquitous production format - particularly among visual effects-driven films, as the unused frame area allowed greater flexibility in motion tracking and CGI-related tasks.

## Variants
### 35mm

When composing for 1.85:1, it is known as Super 1.85, since it was larger than standard 1.85.
When composing for 2.39:1, there are two methods most frequently used: common center, which keeps the 2.39 extraction area at the center of the film, and common top, which shifts the 2.39 extraction area upwards on the film so that it shares a common top line with a centered 1.85:1 frame. Proponents of the common-top method have included James Cameron, Martin Scorsese and Gore Verbinski, as it allowed 4:3 home video versions to be made with similar framing. This method did present minor issues, such as necessitating tilting during zooms, and could also result in off-center lens flares. As 16:9 televisions increased in popularity, it became more practical for productions to use the common center method.

### Digital

Many of the first digital cinema cameras used Super 35-sized sensors, as it allowed compatibility with existing cinema lenses. Today, many of the most widely-used digital cinema cameras, including the Red Epic and Arri Alexa, have Super 35-sized sensors.

## Details

Super 35 is a production format. Theatres do not receive or project Super 35 prints. Rather, films are shot in a Super 35 format but are then – either through optical blowdown/matting or digital intermediate – converted into one of the standard formats to make release prints. Because of this, often productions also use Super 35's width in conjunction with a 3-perf negative pulldown to save costs on "wasted" frame area shot and accommodate camera magazines that could shoot 33% longer in time with the same length of film.
If using 4-perf, the Super 35 exposure area is 24.89 mm × 18.66 mm (0.980 in × 0.735 in), compared to the standard Academy 35 mm film size of 21.95 mm × 16.00 mm (0.864 in × 0.630 in) and thus provides 32% more image area than the standard 35-mm format. 4-perf Super 35 is simply the original frame size that was used in 35 mm silent films. That is, it is a return to the way the film stock was used before the frame size was cropped to allow room for a soundtrack.
Super 35 competes with the use of the standard 35 mm format used with an anamorphic lens. In this comparison, advocates of Super 35 claim an advantage in production costs and flexibility; when used to make 2.39:1 theatrical prints and the ability to format the film for TV, detractors complain of a loss in quality, due to less negative area used and more lab intermediate steps (if done optically).

## Aspect ratio

Super 35 uses standard "spherical" camera lenses, which are faster, smaller, and cheaper to rent – a factor in low-budget production – and provide a wider range of lens choices to the cinematographer. The chief advantage of Super 35 for productions is its adaptability to different release formats. Super 35 negatives can be used to produce high-quality releases in any aspect ratio, as the final frame is extracted and converted from the larger full frame negative. This also means that a full-frame video release can actually display more of the frame than the theatrical release (Open matte), provided that the extra frame space is "protected for" during filming. Generally the aspect ratio(s) and extraction method (either from a common center or common topline) must be chosen by the director of photography ahead of time, so the correct ground glass can be created to let the camera operator see where the extracted frame is.
Super 35 ratios have included:
* 1.33:1 (4:3 full screen video)
* 1.78:1 (16:9, widescreen video)
* 1.85:1 ("flat" print) (Super 1.85)
* 2.00:1 (Univisium)
* 2.20:1 (70mm print)
* 2.39:1 (anamorphic print)
1.66:1 and 1.75:1 have been indicated in some Super 35 frame leader charts, although generally they have not been used for Super 35 productions due to both relative lack of usage since the rise of Super 35 and their greater use of negative frame space by virtue of their increased vertical dimension.
Theoretically, 2.39:1 release prints made from Super 35 should have slightly lower technical quality than films produced directly in the anamorphic format. Because part of the Super 35 image is thrown away when printing to this format, films originated with anamorphic lenses use a larger negative area. Super 35 has continually been popular with television shows, due to the lack of a need for a final release print; with the advent of widescreen television sets, 3-perf Super 35 – with a native 1.78:1 (16:9) ratio – was widely used for widescreen television shows until the advent of digital shooting. 3-perf Super 35 was also used for some time for feature films in 1.85:1 & 2.39:1, and the digital intermediate process made it more attractive because it allowed the optical processing formerly required to be skipped entirely.

## Examples

| Director | Year | Title | Notes |
| James Cameron | 1989 | The Abyss | Common top |
| James Cameron | 1991 | Terminator 2: Judgment Day | Common top |
| James Cameron | 1994 | True Lies | Common top |
| James Cameron | 1997 | Titanic | |
| Katheryn Bigelow | 1991 | Point Break | |
| Katheryn Bigelow | 1995 | Strange Days | |
| Katheryn Bigelow | 2002 | K-19: The Widowmaker | |
| Claude Lelouch | 1981 | Les Uns et les Autres | |
| Claude Lelouch | 1983 | Edith et Marcel | |
| Claude Lelouch | 1984 | Viva la vie | |
| Claude Lelouch | 1985 | Partir Revenir | |
| Claude Lelouch | 1986 | Un homme et une femme 20 ans déjà | |
| Claude Lelouch | 1987 | Attention Bandit | |
| Claude Lelouch | 1988 | Itinéraire d'un enfant gâté | |
| Claude Lelouch | 1990 | Il y a des jours... et des lunes | |
| Claude Lelouch | 1992 | La Belle Histoire | |
| Claude Lelouch | 1993 | Tout ça pour ça | |
| Claude Lelouch | 1994 | Les misérables | |
| | 1996 | Hommes, femmes, mode d'emploi | |
| | 1998 | Hasards ou coïncidences |
| | 1999 | Une pour toutes |
| | 2002 | And Now... Ladies and Gentlemen | |
| Lawrence Kasdan | 1985 | Silverado | |
| Lawrence Kasdan | 2003 | Dreamcatcher | |
| Tony Scott | 1986 | Top Gun | |
| Tony Scott | 1987 | Beverly Hills Cop II | |
| Tony Scott | 2004 | Man on Fire | |
| Tony Scott | 2005 | Domino | |
| Tony Scott | 2006 | Déjà Vu | Scenes that were not shot on Panavision Genesis |
| Tony Scott | 2009 | The Taking of Pelham 123 | |
| Tony Scott | 2010 | Unstoppable | |
| Ridley Scott | 1989 | Black Rain | |
| Ridley Scott | 2000 | Gladiator | |
| Ridley Scott | 2001 | Black Hawk Down | |
| Ridley Scott | 2005 | Kingdom of Heaven | |
| Ridley Scott | 2006 | A Good Year | |
| Ridley Scott | 2008 | Body of Lies | |
| Ridley Scott | 2010 | Robin Hood | |
| Wolfgang Petersen | 1985 | Enemy Mine | |
| Wolfgang Petersen | 1997 | Air Force One | Common top |
| Wolfgang Petersen | 2004 | Troy | |
| Wolfgang Petersen | 2006 | Poseidon | |
| John Hughes | 1986 | Ferris Bueller's Day Off | Common top |
| John Badham | 1990 | Bird on a Wire | Common top |
| Jack Nicholson | 1990 | The Two Jakes | Super 1.85 |
| Francis Ford Coppola | 1990 | The Godfather Part III | Super 1.85 |
| The Wachowskis | 1999 | The Matrix | |
| The Wachowskis | 2003 | The Matrix Reloaded | |
| The Wachowskis | 2003 | The Matrix Revolutions | |
| The Wachowskis | 2012 | Cloud Atlas | 3-perf |
| Ron Howard | 1991 | Backdraft | Common top |
| Ron Howard | 1995 | Apollo 13 | Common top |
| Ron Howard | 2003 | The Missing | |
| Ron Howard | 2005 | Cinderella Man | |
| Ron Howard | 2006 | The Da Vinci Code | |
| Ron Howard | 2008 | Frost/Nixon | |
| Ron Howard | 2009 | Angels & Demons | |
| Ron Howard | 2011 | The Dilemma | |
| John Milius | 1991 | Flight of the Intruder | |
| Nicholas Meyer | 1991 | Star Trek VI: The Undiscovered Country | |
| Quentin Tarantino | 1992 | Reservoir Dogs | |
| Quentin Tarantino | 2003 | Kill Bill: Volume 1 | 3-perf |
| Quentin Tarantino | 2004 | Kill Bill: Volume 2 | 3-perf |
| Quentin Tarantino | 2007 | Death Proof | 3-perf |
| Quentin Tarantino | 2019 | Once Upon a Time...in Hollywood | "The 14 Fists of McCluskey" sequence Super 1.85 3-perf |
| James Ivory | 1992 | Howards End | |
| James Ivory | 1993 | The Remains of the Day | |
| Martin Scorsese | 1993 | The Age of Innocence | Common top |
| Martin Scorsese | 1995 | Casino | Common top |
| Martin Scorsese | 1997 | Kundun | Common top |
| Martin Scorsese | 2002 | Gangs of New York | Common top |
| Martin Scorsese | 2004 | The Aviator | 3-perf |
| Martin Scorsese | 2006 | The Departed | Common top |
| Martin Scorsese | 2010 | Shutter Island | 3-perf |
| Martin Scorsese | 2013 | The Wolf of Wall Street | Scenes not filmed in anamorphic 35mm |
| Martin Scorsese | 2019 | The Irishman | Super 1.85 3-perf |
| Peter Jackson | 1994 | Heavenly Creatures | |
| Peter Jackson | 1996 | The Frighteners | |
| Peter Jackson | 2001 | The Fellowship of the Ring | |
| Peter Jackson | 2002 | The Two Towers | |
| Peter Jackson | 2003 | The Return of the King | |
| Peter Jackson | 2005 | King Kong | |
| Peter Jackson | 2009 | The Lovely Bones | |
| Bryan Singer | 1995 | The Usual Suspects | |
| Bryan Singer | 1998 | Apt Pupil | |
| Bryan Singer | 2003 | X2: X-Men United | Common top |
| Bryan Singer | 2008 | Valkyrie | Super 1.85 |
| Paul Verhoeven | 1995 | Showgirls | Common top |
| Paul Verhoeven | 2006 | Black Book | |
| John Woo | 1996 | Broken Arrow | |
| John Woo | 2002 | Windtalkers | |
| John Woo | 2008-2009 | Red Cliff | |
| Michael Bay | 1996 | The Rock | |
| Michael Bay | 2003 | Bad Boys II | |
| Woody Allen | 2011 | Midnight in Paris | Super 1.85 3-perf |
| Woody Allen | 2012 | To Rome with Love | Super 1.85 |
| Woody Allen | 2013 | Blue Jasmine | 3-perf |
| Sylvester Stallone | 2008 | Rambo | |
| Sylvester Stallone | 2010 | The Expendables | 3-perf |
| Roland Emmerich | 1996 | Independence Day | Common top |
| Roland Emmerich | 1998 | Godzilla | Common top |
| Roland Emmerich | 2000 | The Patriot | |
| Roland Emmerich | 2004 | The Day After Tomorrow | Common third |
| Roland Emmerich | 2008 | 10,000 BC | Common third |
| Roland Emmerich | 2009 | 2012 | Scenes that were not shot on Panavision Genesis |
| Paul Thomas Anderson | 1996 | Hard Eight | |
| Roger Donaldson | 1997 | Dante's Peak | |
| Roger Donaldson | 2003 | The Recruit | |
| Gregory Nava | 1997 | Selena | |
| Curtis Hanson | 1997 | L.A. Confidential | |
| Curtis Hanson | 2000 | Wonder Boys | |
| Curtis Hanson | 2002 | 8 Mile | |
| Curtis Hanson | 2005 | In Her Shoes | |
| Curtis Hanson | 2007 | Lucky You | |
| Oliver Stone | 1999 | Any Given Sunday | |
| Oliver Stone | 2004 | Alexander | |
| Oliver Stone | 2006 | World Trade Center | Super 1.85 |
| Oliver Stone | 2008 | W. | 3-perf |
| Oliver Stone | 2010 | Wall Street: Money Never Sleeps | 3-perf |
| John Singleton | 2000 | Shaft | |
| John Singleton | 2003 | 2 Fast 2 Furious | |
| John Singleton | 2005 | Four Brothers | |
| John Singleton | 2011 | Abduction | |
| The Coen Brothers | 2000 | O Brother, Where Art Thou? | |
| The Coen Brothers | 2001 | The Man Who Wasn't There | |
| The Coen Brothers | 2007 | No Country for Old Men | |
| The Coen Brothers | 2009 | A Serious Man | Super 1.85 3-perf |
| The Coen Brothers | 2010 | True Grit | 3-perf |
| The Coen Brothers | 2016 | Hail, Caesar! | Super 1.85 3-perf |
| Roman Polanski | 1999 | The Ninth Gate | |
| Roman Polanski | 2005 | Oliver Twist | |
| Roman Polanski | 2010 | The Ghost Writer | |
| Roman Polanski | 2011 | Carnage | 3-perf |
| Lars von Trier | 1996 | Breaking the Waves | |
| Ang Lee | 2000 | Crouching Tiger, Hidden Dragon | |
| Antoine Fuqua | 1998 | The Replacement Killers | |
| Antoine Fuqua | 2000 | Bait | |
| Antoine Fuqua | 2004 | King Arthur | |
| Antoine Fuqua | 2009 | Brooklyn's Finest | 3-perf |
| Antoine Fuqua | 2013 | Olympus Has Fallen | 3-perf |
| McG | 2000 | Charlie's Angels | |
| McG | 2003 | Charlie's Angels: Full Throttle | |
| McG | 2006 | We Are Marshall | |
| McG | 2009 | Terminator Salvation | |
| McG | 2012 | This Means War | |
| D. J. Caruso | 2004 | Taking Lives | |
| D. J. Caruso | 2005 | Two for the Money | |
| D. J. Caruso | 2008 | Eagle Eye | Common top |
| D. J. Caruso | 2011 | I Am Number Four | Super 1.85 |
| Baz Luhrmann | 2001 | Moulin Rouge! | Visual effects |
| Baz Luhrmann | 2008 | Australia | |
| Luc Besson | 1997 | The Fifth Element | |
| Luc Besson | 1999 | The Messenger: The Story of Joan of Arc | |
| Luc Besson | 2005 | Angel-A | |
| Luc Besson | 2006 | Arthur and the Invisibles | |
| Luc Besson | 2009 | Arthur and the Revenge of Maltazard | |
| Luc Besson | 2010 | The Extraordinary Adventures of Adèle Blanc-Sec | 3-perf |
| Luc Besson | 2010 | Arthur 3: The War of the Two Worlds | |
| Luc Besson | 2011 | The Lady | |
| Sam Mendes | 1999 | American Beauty | |
| Sam Mendes | 2002 | Road to Perdition | |
| Sam Mendes | 2005 | Jarhead | |
| Sam Mendes | 2008 | Revolutionary Road | |
| Sam Mendes | 2009 | Away We Go | |
| Steven Spielberg | 2002 | Minority Report | |
| Steven Spielberg | 2005 | Munich | |
| Steven Spielberg | 2011 | War Horse | |
| Steven Spielberg | 2012 | Lincoln | 3-perf |
| Steven Spielberg | 2017 | The Post | Super 1.85 3-perf |
| Steven Spielberg | 2022 | The Fabelmans | Super 1.85 3-perf |
| Peter Berg | 2003 | The Rundown | |
| Peter Berg | 2004 | Friday Night Lights | |
| Peter Berg | 2007 | The Kingdom | |
| Peter Berg | 2008 | Hancock | |
| Peter Berg | 2012 | Battleship | Visual effects |
| Sam Raimi | 2004 | Spider-Man 2 | |
| Sam Raimi | 2007 | Spider-Man 3 | |
| Sam Raimi | 2009 | Drag Me to Hell | Common top |
| Sean McNamara | 2004 | Raise Your Voice | |
| Sean McNamara | 2007 | Bratz: The Movie | |
| Sean McNamara | 2011 | Soul Surfer | |
| Guy Ritchie | 2005 | Revolver | |
| Guy Ritchie | 2009 | Sherlock Holmes | Super 1.85 |
| Guy Ritchie | 2011 | Sherlock Holmes: A Game of Shadows | |
| Tim Burton | 2005 | Charlie and the Chocolate Factory | Super 1.85 |
| Tim Burton | 2007 | Sweeney Todd: The Demon Barber of Fleet Street | Super 1.85 |
| Tim Burton | 2010 | Alice in Wonderland | Opening and closing bookends Super 1.85 |
| Tim Burton | 2012 | Dark Shadows | Super 1.85 |
| Chris Columbus | 2001 | Harry Potter and the Philosopher's Stone | |
| Chris Columbus | 2002 | Harry Potter and the Chamber of Secrets | |
| Chris Columbus | 2005 | Rent | |
| Chris Columbus | 2010 | Percy Jackson & the Olympians: The Lightning Thief | |
| Alfonso Cuarón | 2004 | Harry Potter and the Prisoner of Azkaban | |
| Alfonso Cuarón | 2006 | Children of Men | Super 1.85 |
| Mike Newell | 1997 | Donnie Brasco | Common Top |
| Mike Newell | 1999 | Pushing Tin | |
| Mike Newell | 2005 | Harry Potter and the Goblet of Fire | |
| Mike Newell | 2007 | Love in the Time of Cholera | 3-perf |
| Mike Newell | 2010 | Prince of Persia: The Sands of Time | |
| David Yates | 2007 | Harry Potter and the Order of the Phoenix | |
| David Yates | 2009 | Harry Potter and the Half-Blood Prince | |
| David Yates | 2010 | Harry Potter and the Deathly Hallows - Part 1 | |
| David Yates | 2011 | Harry Potter and the Deathly Hallows - Part 2 | |
| Zack Snyder | 2004 | Dawn of the Dead | |
| Zack Snyder | 2006 | 300 | |
| Zack Snyder | 2009 | Watchmen | |
| Zack Snyder | 2011 | Sucker Punch | |
| Zack Snyder | 2017 | Justice League | Super 1.85 |
| Zack Snyder | 2021 | Zack Snyder's Justice League | Director's cut of the theatrical film, presented full-frame. |
| Paul Feig | 2006 | Unaccompanied Minors | |
| Paul Feig | 2011 | Bridesmaids | |
| Paul Feig | 2013 | The Heat | 3-perf |
| Jon Favreau | 2008 | Iron Man | |
| Jon Favreau | 2010 | Iron Man 2 | |
| Trey Parker | 2004 | Team America: World Police | |
| Joe Johnston | 2010 | The Wolfman | Super 1.85 |
| Joe Johnston | 2011 | Captain America: The First Avenger | Scenes that were not shot on Panavision Genesis |
| Joe Johnston | 2018 | The Nutcracker and the Four Realms | Reshoots Super 1.85 3-perf Shots that were not Filmed in Panavision Super 70mm |
| Rupert Sanders | 2012 | Snow White and the Huntsman | Visual effects |
| David Fincher | 1995 | Se7en | |
| David Fincher | 1997 | The Game | Fincher third |
| David Fincher | 1999 | Fight Club | Fincher third |
| David Fincher | 2002 | Panic Room | Fincher third 3-perf |
| Jonathan Mostow | 1997 | Breakdown | Common top |
| Jonathan Mostow | 2000 | U-571 | |
| Jonathan Mostow | 2003 | Terminator 3: Rise of the Machines | Common top |
| Jonathan Mostow | 2009 | Surrogates | |
| Andrew Adamson | 2005 | The Chronicles of Narnia: The Lion, the Witch and the Wardrobe | |
| Andrew Adamson | 2008 | The Chronicles of Narnia: Prince Caspian | |
| Judd Apatow | 2015 | Trainwreck | 3-perf |
| Judd Apatow | 2020 | The King of Staten Island | 3-perf |
| Patty Jenkins | 2017 | Wonder Woman | |
| Patty Jenkins | 2020 | Wonder Woman 1984 | Scenes that were not shot on IMAX film |
| Joel Schumacher | 2002 | Bad Company | Common top |
| Joel Schumacher | 2002 | Phone Booth | Common top |
| Joel Schumacher | 2003 | Veronica Guerin | |
| Joss Whedon | 2005 | Serenity | |
| Joss Whedon | 2012 | Marvel's The Avengers | High-speed shots Super 1.85 |
| Tim Hill | 2007 | Alvin and the Chipmunks | Super 1.85 |
| Tim Hill | 2011 | Hop | Super 1.85 |
| Mimi Leder | 1997 | The Peacemaker | |
| Mimi Leder | 1998 | Deep Impact | |
| Spike Lee | 2002 | 25th Hour | |
| Spike Lee | 2006 | Inside Man | |
| Spike Lee | 2008 | Miracle at St. Anna | |
| Richard Curtis | 2003 | Love Actually | |
| Richard Curtis | 2009 | The Boat That Rocked | |
| Park Chan-wook | 2000 | Joint Security Area | |
| Park Chan-wook | 2002 | Sympathy for Mr. Vengeance | |
| Park Chan-wook | 2003 | Oldboy | |
| Park Chan-wook | 2005 | Lady Vengeance | |
| Park Chan-wook | 2009 | Thirst | |
| Park Chan-wook | 2013 | Stoker | 3-perf |
| Jean-Pierre Jeunet | 1997 | Alien Resurrection | |
| Jean-Pierre Jeunet | 2001 | Amélie | |
| Jean-Pierre Jeunet | 2004 | A Very Long Engagement | |
| Jean-Pierre Jeunet | 2009 | Micmacs | 3-perf |
| Martin McDonagh | 2008 | In Bruges | 3-perf |
| Martin McDonagh | 2012 | Seven Psychopaths | 3-perf |
| Ben Affleck | 2010 | The Town | |
| Ben Affleck | 2012 | Argo | Some scenes |
| Gore Verbinski | 2001 | The Mexican | Common top |
| Gore Verbinski | 2003 | Pirates of the Caribbean: The Curse of the Black Pearl | Common top |
| Gore Verbinski | 2006 | Pirates of the Caribbean: Dead Man's Chest | Common top |
| Gore Verbinski | 2007 | Pirates of the Caribbean: At World's End | Common top |
| Steven Soderbergh | 2001 | Ocean's Eleven | Common top |
| Steven Soderbergh | 2004 | Ocean's Twelve | Common top |
| Steven Soderbergh | 2007 | Ocean's Thirteen | Common top |
| Alex Proyas | 1998 | Dark City | Common top |
| Alex Proyas | 2004 | I, Robot | |
| Danny Boyle | 1997 | A Life Less Ordinary | |
| Danny Boyle | 2000 | The Beach | |
| Danny Boyle | 2007 | Sunshine | Some scenes |
| Danny Boyle | 2008 | Slumdog Millionaire | 3-perf |
| Danny Boyle | 2015 | Steve Jobs | 3-perf, some scenes |
| Kevin Smith | 1999 | Dogma | Common top |
| Kevin Smith | 2001 | Jay and Silent Bob Strike Back | |
| Ben Stiller | 1996 | The Cable Guy | Common top |
| Ben Stiller | 2001 | Zoolander | |
| Ben Stiller | 2008 | Tropic Thunder | |
| Ben Stiller | 2013 | The Secret Life of Walter Mitty | Some scenes |
| Jon Turteltaub | 2004 | National Treasure | |
| Jon Turteltaub | 2007 | National Treasure: Book of Secrets | |
| Jon Turteltaub | 2010 | The Sorcerer's Apprentice | |
| Jay Roach | 1997 | Austin Powers: International Man of Mystery | |
| Jay Roach | 1999 | Austin Powers: The Spy Who Shagged Me | Common third |
| Jay Roach | 2002 | Austin Powers in Goldmember | Common top |
| Christopher Nolan | 2005 | Batman Begins | Special effects shots |
| Christopher Nolan | 2023 | Oppenheimer | Special effects shots that weren't shot with IMAX film cameras. |
Franchises that used the Super 35 format include The Matrix, The Fast and the Furious, Harry Potter, Bourne, the first three Pirates of the Caribbean movies, National Treasure, the first two The Chronicles of Narnia movies, the first three live-action Alvin and the Chipmunks movies (Super 1.85), and The Twilight Saga.