Through much toil and tribulation, or by having your pet monkey randomly click on things on site while you are at work (teach him to login first), you can earn the ranks below and impress those that are easily impressed. Yes, now as your mother did in college, you too can earn the label Thrillarama!

Zoopraxiscope IQ Points: 0 - 24999

The zoopraxiscope is an early device for displaying motion pictures. Created by photographic pioneer Eadweard Muybridge in 1879, it may be considered the first movie projector. The zoopraxiscope projected images from rotating glass disks in rapid succession to give the impression of motion. The stop-motion images were initially painted onto the glass, as silhouettes. A second series of discs, made in 1892–1894, used outline drawings printed onto the discs photographically, then colored by hand. Some of the animated images are highly complex, featuring multiple combinations of sequences of animal and human movement. –

Kinetoscope IQ Points: 25000 - 49999

The Kinetoscope is an early motion picture exhibition device. The Kinetoscope was designed for films to be viewed by one individual at a time through a peephole viewer window at the top of the device. The Kinetoscope was not a movie projector, but introduced the basic approach that would become the standard for all cinematic projection before the advent of video, by creating the illusion of movement by conveying a strip of perforated film bearing sequential images over a light source with a high-speed shutter. A process using roll film first described in a patent application submitted in France and the U.S. by French inventor Louis Le Prince, the concept was also used by U.S. inventor Thomas Edison in 1889, and subsequently developed by his employee William Kennedy Laurie Dickson between 1889 and 1892. Dickson and his team at the Edison lab also devised the Kinetograph, an innovative motion picture camera with rapid intermittent, or stop-and-go, film movement, to photograph movies for in-house experiments and, eventually, commercial Kinetoscope presentations. –

Mutoscope IQ Points: 50000 - 74999

The Mutoscope was an early motion picture device, invented by Winsor McCay and later patented by Herman Casler on November 21, 1894. Like Thomas Edison’s Kinetoscope, it did not project on a screen and provided viewing to only one person at a time. Cheaper and simpler than the Kinetoscope, the system, marketed by the American Mutoscope Company (later the American Mutoscope and Biograph Company), quickly dominated the coin-in-the-slot peep-show business. –

Cinematograph IQ Points: 75000 - 99999

A cinematograph is a motion picture film camera, which also serves as a film projector and printer. It was invented in the 1890s. The device was first invented and patented as the “Cinématographe Léon Bouly” by French inventor Léon Bouly on February 12, 1892. Bouly coined the term “cinematograph”, from the Greek for “writing in movement”. Due to a lack of money, Bouly was unable to develop his ideas properly and maintain his patent fees, so he sold his rights to the device and its name to the Lumière Brothers. In 1895, they applied the name to a device that was largely their own creation. –

Phantoscope IQ Points: 100000 - 124999

The Phantoscope was a film projection machine, a creation of Charles Francis Jenkins. Created in the early 1890s, he projected the first motion picture before an audience in his hometown of Richmond, Indiana on June 6, 1894. He later met Thomas Armat who provided financial backing for necessary modifications. The two inventors unveiled their modified projector at the Cotton States Exposition in Atlanta, Georgia, in September 1895. –

Animatograph IQ Points: 125000 - 149999

R.W. Paul presented Britain’s second film projector, and the first commercially produced 35mm projector, the Theatrograph, on 20 February 1896. It was first demonstrated at Finsbury Technical College. The use of Paul’s Theatrograph in music halls up and down the country popularised early cinema in Britain. It was first revealed to the public at the Egyptian Hall in Picadilly, London. The Theatrograph was also known as the Animatograph. –

Vitascope IQ Points: 150000 - 174999

Vitascope was an early film projector first demonstrated in 1895 by Charles Francis Jenkins and Thomas Armat. They had made modifications to Jenkins patented Phantoscope, which cast images via film and electric light onto a wall or screen. The Vitascope is a large electrically-powered projector that uses light to cast images. The images being cast are originally taken by a kinetoscope mechanism onto gelatin film. Using an intermittent mechanism, the film negatives produced up to fifty frames per second. The shutter opens and closes to reveal new images. This device can produce up to 3,000 negatives per minute.[1] With the original Phantoscope and before he partnered with Armat, Jenkins displayed the earliest documented projection of a filmed motion picture in June 1894 in Richmond, Indiana. –

8mm IQ Points: 175000 - 199999

The standard 8 mm (also known as regular 8) film format was developed by the Eastman Kodak company during the Great Depression and released to the market in 1932 to create a home movie format that was less expensive than 16 mm. –

Super 8mm IQ Points: 200000 - 224999

Super 8 mm film is a motion picture film format released in 1965 by Eastman Kodak as an improvement of the older “Double” or “Regular” 8 mm home movie format. The film is nominally 8 mm wide, exactly the same as the older standard 8 mm film, and also has perforations on only one side. However, the dimensions of the perforations are smaller than those on older 8 mm film, which allowed the exposed area to be made larger. –

Pathescope IQ Points: 225000 - 249999

9.5 mm film is an amateur film format introduced by Pathé Frères in 1922 as part of the Pathé Baby amateur film system. It was conceived initially as an inexpensive format to provide copies of commercially made films to home users, although a simple camera was released shortly afterwards. –

16mm IQ Points: 250000 - 274999

Eastman Kodak introduced 16 mm film in 1923 as a less expensive amateur alternative to 35 mm film. The silent 16 mm format was initially aimed at the home enthusiast, but by the 1930s it had begun to make inroads into the educational market. The addition of optical sound tracks and, most notably, Kodachrome in 1935, gave an enormous boost to the 16 mm market. Used extensively in WW2, there was a huge expansion of 16 mm professional filmmaking in the post-war years. Films for government, business, medical and industrial clients created a large network of 16 mm professional filmmakers and related service industries in the 1950s and 1960s. –

Super 16mm IQ Points: 275000 - 299999

The variant called Super 16 mm, Super 16, or 16 mm Type W, developed by Swedish cinematographer Rune Ericson in 1969, uses single-sprocket film, and takes advantage of the extra room for an expanded picture area of 7.41 mm by 12.52 mm with a wider aspect ratio of 1.67. Super 16 cameras are usually 16 mm cameras that have had the film gate and ground glass in the viewfinder modified for the wider frame. Since Super 16 takes up the space originally reserved for the soundtrack, films shot in this format can be enlarged by optical printing to 35 mm for projection. However, with the recent development of digital intermediate workflows, it is now possible to digitally enlarge to 35 mm with virtually no quality loss (given a high quality digital scan), or alternatively to use high-quality video equipment for the original image capture. –

Techniscope IQ Points: 300000 - 324999

Techniscope or 2-perf is a 35 mm motion picture camera film format introduced by Technicolor Italia in 1960. The Techniscope format uses a two film-perforation negative pulldown per frame, instead of the standard four-perforation frame usually exposed in 35 mm film photography. Techniscope’s 2.33:1 aspect ratio is easily cropped to the 2.39:1 widescreen ratio, because it uses half the amount of 35 mm film stock and standard spherical lenses. –

Maxivision IQ Points: 325000 - 349999

Maxivision 24 and Maxivision 48 are 35 mm film motion picture film formats. The system was designed by Dean Goodhill in 1999. The system uses normal thirty-five millimetre motion picture film, capturing images on three perforations of film per frame. The format can run either at the standard twenty-four frames per second, or at forty-eight frames per second, which reduces strobing effects and increases apparent resolution when combined with a system for reducing film movement in the gate and eliminating scratching. –

Phonofilm IQ Points: 350000 - 374999

Phonofilm is an optical sound-on-film system developed by inventors Lee de Forest and Theodore Case in the 1920s. In 1919 and 1920, Lee De Forest, inventor of the audion tube, filed his first patents on a sound-on-film process, DeForest Phonofilm, which recorded sound directly onto film as parallel lines. These parallel lines photographically recorded electrical waveforms from a microphone, which were translated back into sound waves when the movie was projected. Some sources say that DeForest improved on the work of Finnish inventor Eric Tigerstedt — who was granted German patent 309.536 on 28 July 1914 for his sound-on-film work — and on the Tri-Ergon process, patented in 1919 by German inventors Josef Engl, Hans Vogt, and Joseph Massole. –

Academy Format IQ Points: 375000 - 374999

In the conventional motion picture format, frames are four perforations tall, with an aspect ratio of 1.375:1. This is a derivation of the aspect ratio and frame size designated by Thomas Edison at the dawn of motion pictures, which was an aspect ratio of 1.33:1. In November 1929, the Society of Motion Pictures Engineers set a standard aperture ratio of 0.800 in by 0.600 in. In 1932, in refining this ratio, the Academy of Motion Picture Arts and Sciences expanded upon this 1930 standard. The camera aperture became 22 mm by 16 mm (0.866 in by 0.630 in), and the projected image would use an aperture plate size of 0.825 by 0.600 in (21 by 15 mm), yielding an aspect ratio of 1.375:1. This became known as the “Academy” ratio, named so after them. –

Super 35 IQ Points: 400000 - 424999

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 negative space normally reserved for the optical analog sound track. 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. –

Cinemascope IQ Points: 425000 - 449999

CinemaScope is an anamorphic lens series used, from 1953 to 1967, for shooting widescreen movies. Its creation in 1953 by Spyros P. Skouras, the president of 20th Century Fox, marked the beginning of the modern anamorphic format in both principal photography and movie projection. The anamorphic lenses theoretically allowed the process to create an image of up to a 2.66:1 aspect ratio, almost twice as wide as the previously common Academy format’s 1.37:1 ratio. Although the CinemaScope lens system was made obsolete by new technological developments, primarily advanced by Panavision, the CinemaScope anamorphic format has continued to this day. In film-industry jargon, the shortened form, ‘Scope, is still widely used by both filmmakers and projectionists, although today it generally refers to any 2.35:1, 2.39:1, or 2.40:1 presentation or, sometimes, the use of anamorphic lensing or projection in particular. –

VistaVision IQ Points: 450000 - 474999

VistaVision is a higher resolution, widescreen variant of the 35 mm motion picture film format which was created by engineers at Paramount Pictures in 1954. Paramount did not use anamorphic processes such as CinemaScope but refined the quality of their flat widescreen system by orienting the 35 mm negative horizontally in the camera gate and shooting onto a larger area, which yielded a finer-grained projection print. As finer-grained film stocks appeared on the market, VistaVision became obsolete. Paramount dropped the format after only seven years, although for another forty years the format was used by some European and Japanese producers for feature films, and by American film studios for high resolution special effects sequences. –

Technirama IQ Points: 475000 - 499999

Technirama is a screen process that has been used by some film production houses as an alternative to CinemaScope. It was first used in 1957 but fell into disuse in the mid-1960s. The process was invented by Technicolor and is an anamorphic process with a screen ratio the same as revised CinemaScope (2.35:1) (which became the standard), but it’s actually 2.25:1 on the negative. –

Thrillarama IQ Points: 500000 - 549999

Some contemporary reviews and news items referred to the film as Thrillarama. Thrillarama Productions, Inc. was founded in Dallas by exhibitor Albert H. Reynolds. Thrillarama was a two-camera, two projector variation on the three-panel Cinerama process. According to the company’s publicity, the system’s principal advantages were that it utilized a theater’s existing projectors and that the curved screen and adjustments to the projectors could be installed overnight. The projected image had an aspect ratio of approx 3.5:1. –

Polyvision IQ Points: 550000 - 599999

Polyvision was the name given by the French film critic Émile Vuillermoz to a specialized widescreen film format devised exclusively for the filming and projection of Abel Gance’s 1927 film Napoleon. –

Cinemiracle IQ Points: 600000 - 649999

Cinemiracle was a widescreen cinema format competing with Cinerama developed in the 1950s. It was ultimately unsuccessful, with only a single film produced and released in the format. Like Cinerama it used 3 cameras to capture a 2.59:1 image. Cinemiracle used two mirrors to give the left and right cameras the same optical center as the middle camera. This made the joins between the projected images much less obvious than with Cinerama. –

Cinerama IQ Points: 650000 - 699999

Cinerama is a widescreen process that originally projected images simultaneously from three synchronized 35 mm projectors onto a huge, deeply curved screen, subtending 146° of arc.It was the first of a number of novel processes introduced during the 1950s, when the movie industry was reacting to competition from television. Cinerama was presented to the public as a theatrical event, with reserved seating and printed programs, and audience members often dressed in their best attire for the evening. –

CinemaScope 55 IQ Points: 700000 - 749999

CinemaScope 55 was a large-format version of CinemaScope introduced by Twentieth Century Fox in 1955, which used a film width of 55.625 mm. Fox had introduced the original 35 mm version of CinemaScope in 1953 and it had proved to be commercially successful. But the additional image enlargement needed to fill the new wider screens, which had been installed in theatres for CinemaScope, resulted in visible film grain. A larger film was used to reduce the need for such enlargement. –

Fox Grandeur IQ Points: 750000 - 799999

In 1928, Fox Film Corporation started working on a wide film format using 70 mm film which they named Grandeur. This was one of a number of wide-film processes developed by some of the major film studios at about that time. However, due to strong resistance from movie theater owners, who were in the process of equipping their theaters for sound, none of these systems became commercially successful. Fox dropped Grandeur in 1930. –

Todd AO IQ Points: 800000 - 849999

In collaboration with the American Optical company, Mike Todd developed a system which was to be called “Todd-AO”. This uses a single 70 mm wide film and was introduced with the film Oklahoma! in October 1955. The 70 mm film is perforated at the same pitch (0.187 inch, 4.75mm) as standard 35 mm film. With a five-perforation pull-down, the Todd-AO system provides a frame dimension of 1.912 inch (48.56mm) by 0.816 inch (20.73mm) giving an aspect ratio of 2.2:1. –

Showscan IQ Points: 850000 - 899999

Showscan is a cinematic process developed by Douglas Trumbull. It uses 70mm film, but photographs and projects it at 60 frames per second – 2.5 times the standard speed of movie film. –

Super Panavision 70 IQ Points: 900000 - 949999

Super Panavision 70 was the marketing brand name used to identify movies photographed with Panavision 70 mm spherical optics between 1959 and 1983. In 1959, Panavision introduced Super Panavision 70 to compete with Todd AO and MGM 65. Unlike its counterpart Ultra Panavision 70, which used anamorphic lenses, Super Panavision used spherical lenses to create a final aspect ratio of 2.20:1. –

Ultra Panavision IQ Points: 950000 - 999999

Ultra Panavision 70 identified motion pictures photographed with Panavision’s anamorphic movie camera lenses. 65 mm film was used to capture images in these processes. The projection print, however, was 70 mm film stock. The extra 5 mm on the positive projection print was used to accommodate six-track stereo sound. Ultra Panavision 70 were shot at 24 frames per second (fps) using anamorphic camera lenses. Ultra Panavision 70’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). –

IMAX IQ Points: 1000000+

IMAX (an acronym for Image maximum) is a motion picture film format and a set of cinema projection standards created by Canadian company IMAX Corporation and developed by Graeme Ferguson, Roman Kroitor, Robert Kerr, and William C. Shaw. IMAX has the capacity to record and display images of far greater size and resolution than conventional film systems. To achieve such increased image resolution, which IMAX estimates at approximately 12 thousand lines of horizontal resolution (12K), 65mm film stock passes horizontally through the IMAX movie camera, 15 perforations at a time. At 24 frames per second, this means that the film moves through the camera at 102.7 metres per minute (just over 6 km/h). –