Scope Filmography: X

Compiled by Gary Palmer

Key:

* = Indicates that the photographic process has not been identified.
** = Indicates that the photographic process has been identified, but the entry itself is otherwise incomplete (director hasn't been verified, original title missing, etc.).
bw = Black and white.
CGI = Animated films which employ computer graphics rather than 'traditional' hand-drawn animation.
col = Colour.
D: = Director.
DV = Indicates a film shot on standard-definition Digital Video cameras.
HD = Indicates a film shot with HD cameras at a native 1.78:1 ratio, subsequently cropped to produce a 2.39:1 release print (35mm and/or D-Cinema).
HD Widescreen = Indicates a film shot with HD cameras that employ a mechanism to alter the shape of the pixels that make up the HD image, thereby 'squeezing' a 2.33:1 or 2.37:1 image into the native 1.78:1 frame. This is subsequently 'unsqueezed' and rendered as a 2.39:1 release print (35mm and/or D-Cinema).
(I) = Indicates a film produced for Internet distribution rather than cinema or home video, though such films may also be distributed across other platforms after their initial 'Net-only' premiere.
(LF) = Large Format: This refers to any gauge larger than 5-perf 70mm, though not including VistaVision, Technirama or the various widescreen formats employed on certain movies throughout the 1920's and early 30's.
seq(s) = Sequence(s).
S16 = Indicates a film shot in Super 16.
(TV) = TV movie: Sometimes a film is produced specifically for television with a view to condensing the material for theatrical exhibition in non-domestic markets. With the dominance of 16:9 TV's and HD sets, allowing for easy letterboxing of 2.35:1 and 2.39:1 movies on wider TV screens, this has prompted some directors to use the scope frame for their TV productions. This is duly noted in the relevant entries.
(V) = This designates a movie produced for - and released directly to - home video.

• Entries which do not list a photographic format were shot 'open frame' (usually 1.37:1 for 35mm and/or 1.78:1 for HD) and framed within that open space for a 2.39:1 release print. This is the same principle as 'flat' films which are framed and cropped for a 1.66:1 or 1.85:1 theatrical print, and has more in common with 'cropscreen' than widescreen, though the results are often indistinguishable from the real thing. Some filmmakers use this format to impose a rigorous scope frame, but most of them use it to shoot for a variety of ratios, thereby compromising all of them, especially the intended theatrical ratio. These films are 'widescreen' only in the sense that 2.39:1 is the primary ratio, but they are simply cropped from one frame shape to another and do not employ any special photographic process. 

X
엑스
S.Korea - 1983 - col
D: Ha Myeong-jung
Anamorphic

X
Australia - 2011 - col
D: Jon Hewitt

XII
USA - 2008 - col
D: Michael A. Nickles

X-15
USA - 1961 - col
D: Richard Donner
Panavision

THE X FILES
USA - 1998 - col
D: Rob Bowman

THE X FILES: I WANT TO BELIEVE
USA/Canada - 2008 - col
D: Chris Carter

X: FIRST CLASS
USA - 2011 - col
D: Matthew Vaughn
Panavision

THE X FROM OUTER SPACE
宇宙大怪獣ギララ
Japan - 1967 - col
D: Kazui Nihonmatsu
Shochiku GrandScope

XIAO-XIAO: A GIRL FROM HUNAN
湘女蕭蕭
China - 1987 - col
D: Wu Lan, Xie Fei
Anamorphic

X-MEN
USA - 2000 - col
D: Bryan Singer
Panavision

X-MEN: FIRST CLASS
[see: X: First Class]

X-MEN ORIGINS: WOLVERINE
USA/Australia - 2009 - col
D: Gavin Hood

X-MEN: THE LAST STAND
USA - 2006 - col
D: Brett Ratner

X-RATED GIRL
(see: Merlo Maschio, Il)

X-RAY OF A KILLER
(see: Sursis pour un Espion)

X2
USA - 2003 - col
D: Bryan Singer

X-25 REPORTS
X-25 Jавља
Yugoslavia - 1960 - bw
D: František Čap
Dyaliscope

XUXA REQUEBRA
Brazil - 1999 - col
D: Tizuka Yamasaki

XXL
Spain - 1997 - col
D: Ariel Zeitoun
Hawk Scope

xXx
USA - 2002 - col
D: Rob Cohen
Panavision

xXx: STATE OF THE UNION
(aka: xXx: The Next Level)
USA - 2005 - col
D: Lee Tamahori

xXx: THE NEXT LEVEL
(see: xXx: The State of the Union)