Barry Lyndon was shot and composed for 1.66:1 but could be matted up to 1.75:1. The new editions are 1.78 and lose some frame information.

I'm still not sold on the IMAX format for theatrical presentations, even with 70mm prints. The screen is at too forced of a viewing angle and with its curvatures you cannot experience the full image on IMAX sequences. (To me it usually resembles a porthole with foggy edges.) I get a damn neckache on every IMAX movie I see. The sound is almost always too boomy and not very directional if you examine it carefully. The 70mm prints for 35mm scope films have some obvious processing going on, at least TDKR did and that was brand new.

I just don't see the need for blowups of this nature when 35mm gives you more for less. Raiders looked spectacular on 35mm and the process was done at 4K. What more can this print give? The Final Cut of Blade Runner on 35mm is one of the best prints I've ever seen regardless of presentation.

I'd rather see these in 35mm scope on a massive conventional or 70mm screen with top of the line equipment. Or even conventional equipment at an art house.

The only thing I could possibly see IMAX doing different is maybe running full on 8 perforation VistaVision film prints, since their projectors run the film sideways like VV. But again you run into the aspect issue.