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Although in reality the effect was heavily dependent on glass screen projection and the films were not stereoscopic, the shows seemed truly three-dimensional as the figures were clearly separate from the background and virtually appeared inside the real, three-dimensional stage area without any visible screen.

Eventually, longer multi-reel films with story arcs proved to be the way out of the crisis in the movie market and supplanted the previously popular short films that mostly aimed to amuse people with tricks, gags or other brief variety and novelty attractions.

Sound film, stereoscopic film and other novel techniques were relatively cumbersome to combine with multiple reels and were abandoned for a while.

Fairall, and cinematographer Robert F. A single projector could be used to display the movie but anaglyph glasses were used for viewing. The camera system and special color release print film all received U.

S Patent No. Early in December , William Van Doren Kelley, inventor of the Prizma color system, cashed in on the growing interest in 3D films started by Fairall's demonstration and shot footage with a camera system of his own design.

Also in December , Laurens Hammond later inventor of the Hammond organ premiered his Teleview system, which had been shown to the trade and press in October.

Teleview was the first alternating-frame 3D system seen by the public. Using left-eye and right-eye prints and two interlocked projectors , left and right frames were alternately projected, each pair being shown three times to suppress flicker.

Viewing devices attached to the armrests of the theater seats had rotary shutters that operated synchronously with the projector shutters, producing a clean and clear stereoscopic result.

The only theater known to have installed Teleview was the Selwyn Theater in New York City, and only one show was ever presented with it: a group of short films, an exhibition of live 3D shadows, and M.

The show ran for several weeks, apparently doing good business as a novelty M. In , Frederic Eugene Ives and Jacob Leventhal began releasing their first stereoscopic shorts made over a three-year period.

The first film, entitled Plastigrams , was distributed nationally by Educational Pictures in the red-and-blue anaglyph format. The late s to early s saw little interest in stereoscopic pictures.

In Paris, Louis Lumiere shot footage with his stereoscopic camera in September The prints were by Technicolor in the red-and-green anaglyph format, and were narrated by Pete Smith.

Unlike its predecessors, this short was shot with a studio-built camera rig. Prints were by Technicolor in red-and-blue anaglyph.

The short is notable for being one of the few live-action appearances of the Frankenstein Monster as conceived by Jack Pierce for Universal Studios outside of their company.

While many of these films were printed by color systems, none of them was actually in color, and the use of the color printing was only to achieve an anaglyph effect.

While attending Harvard University , Edwin H. Land conceived the idea of reducing glare by polarizing light. He took a leave of absence from Harvard to set up a lab and by had invented and patented a polarizing sheet.

In January , Land gave the first demonstration of Polaroid filters in conjunction with 3D photography at the Waldorf-Astoria Hotel.

Using Polaroid filters meant an entirely new form of projection, however. Two prints, each carrying either the right or left eye view, had to be synced up in projection using an external selsyn motor.

Furthermore, polarized light would be largely depolarized by a matte white screen, and only a silver screen or screen made of other reflective material would correctly reflect the separate images.

The Italian film was made with the Gualtierotti camera; the two German productions with the Zeiss camera and the Vierling shooting system.

All of these films were the first exhibited using Polaroid filters. The Zeiss Company in Germany manufactured glasses on a commercial basis commencing in ; they were also independently made around the same time in Germany by E.

Käsemann and by J. In it, a full Chrysler Plymouth is magically put together, set to music. Originally in black and white, the film was so popular that it was re-shot in color for the following year at the fair, under the title New Dimensions.

It consisted of shots of various views that could be seen from the Pennsylvania Railroad's trains. In the s, World War II prioritized military applications of stereoscopic photography and it once again went on the back burner in most producers' minds.

What aficionados consider the "golden era" of 3D began in late with the release of the first color stereoscopic feature, Bwana Devil , produced, written and directed by Arch Oboler.

The film was shot in "Natural Vision", a process that was co-created and controlled by M. Gunzberg, who built the rig with his brother, Julian, and two other associates, shopped it without success to various studios before Oboler used it for this feature, which went into production with the title, The Lions of Gulu.

As with practically all of the features made during this boom, Bwana Devil was projected dual-strip, with Polaroid filters. During the s, the familiar disposable anaglyph glasses made of cardboard were mainly used for comic books, two shorts by exploitation specialist Dan Sonney , and three shorts produced by Lippert Productions.

However, even the Lippert shorts were available in the dual-strip format alternatively. Quite often, intermission points were written into the script at a major plot point.

During Christmas of , producer Sol Lesser quickly premiered the dual-strip showcase called Stereo Techniques in Chicago. The other three films were produced in Britain for Festival of Britain in by Raymond Spottiswoode.

James Mage was also an early pioneer in the 3D craze. Another early 3D film during the boom was the Lippert Productions short, A Day in the Country , narrated by Joe Besser and composed mostly of test footage.

Unlike all of the other Lippert shorts, which were available in both dual-strip and anaglyph, this production was released in anaglyph only. House of Wax , the first 3D feature with stereophonic sound.

House of Wax , outside of Cinerama , was the first time many American audiences heard recorded stereophonic sound. It was also the film that typecast Vincent Price as a horror star as well as the "King of 3-D" after he became the actor to star in the most 3D features the others were The Mad Magician , Dangerous Mission , and Son of Sinbad.

The success of these two films proved that major studios now had a method of getting filmgoers back into theaters and away from television sets, which were causing a steady decline in attendance.

It was later shown at Disneyland 's Fantasyland Theater in as part of a program with Disney's other short Working for Peanuts , entitled, 3-D Jamboree.

The show was hosted by the Mousketeers and was in color. Castle would later specialize in various technical in-theater gimmicks for such Columbia and Allied Artists features as 13 Ghosts , House on Haunted Hill , and The Tingler.

Columbia also produced the only slapstick comedies conceived for 3D. Producer Jules White was optimistic about the possibilities of 3D as applied to slapstick with pies and other projectiles aimed at the audience , but only two of his stereoscopic shorts were shown in 3D.

Down the Hatch was released as a conventional, "flat" motion picture. Columbia has since printed Down the Hatch in 3D for film festivals. The film was directed by Ireland, who sued Broder for his salary.

Broder counter-sued, claiming that Ireland went over production costs with the film. Another famous entry in the golden era of 3D was the 3 Dimensional Pictures production of Robot Monster.

The film was allegedly scribed in an hour by screenwriter Wyott Ordung and filmed in a period of two weeks on a shoestring budget.

Robot Monster also has a notable score by then up-and-coming composer Elmer Bernstein. The film was released June 24, , and went out with the short Stardust in Your Eyes , which starred nightclub comedian, Slick Slavin.

Darryl F. Zanuck expressed little interest in stereoscopic systems, and at that point was preparing to premiere the new widescreen film system, CinemaScope.

The first decline in the theatrical 3D craze started in August and September The factors causing this decline were:. Because projection booth operators were at many times careless, even at preview screenings of 3D films, trade and newspaper critics claimed that certain films were "hard on the eyes.

Sol Lesser attempted to follow up Stereo Techniques with a new showcase, this time five shorts that he himself produced. Although it was more expensive to install, the major competing realism process was wide-screen, but two-dimensional, anamorphic , first utilized by Fox with CinemaScope and its September premiere in The Robe.

Anamorphic films needed only a single print, so synchronization was not an issue. Cinerama was also a competitor from the start and had better quality control than 3D because it was owned by one company that focused on quality control.

However, most of the 3D features past the summer of were released in the flat widescreen formats ranging from 1.

In early studio advertisements and articles about widescreen and 3D formats, widescreen systems were referred to as "3D", causing some confusion among scholars.

There was no single instance of combining CinemaScope with 3D until , with a film called September Storm , and even then, that was a blow-up from a non-anamorphic negative.

Kate was the hill over which 3D had to pass to survive. MGM tested it in six theaters: three in 3D and three flat. The film also prominently promoted its use of stereophonic sound.

Several other features that helped put 3D back on the map that month were the John Wayne feature Hondo distributed by Warner Bros.

Top Banana , based on the popular stage musical with Phil Silvers , was brought to the screen with the original cast.

Although it was merely a filmed stage production, the idea was that every audience member would feel they would have the best seat in the house through color photography and 3D.

A string of successful films filmed in 3D followed the second wave, but many were widely or exclusively shown flat.

Some highlights are:. Even though Polaroid had created a well-designed "Tell-Tale Filter Kit" for the purpose of recognizing and adjusting out of sync and phase 3D, [ citation needed ] exhibitors still felt uncomfortable with the system and turned their focus instead to processes such as CinemaScope.

The last 3D feature to be released in that format during the "Golden era" was Revenge of the Creature , on February 23, Ironically, the film had a wide release in 3D and was well received at the box office.

Stereoscopic films largely remained dormant for the first part of the s, with those that were released usually being anaglyph exploitation films.

The film was shot in 2-D, but to enhance the bizarre qualities of the dream-world that is induced when the main character puts on a cursed tribal mask, these scenes went to anaglyph 3D.

Although 3D films appeared sparsely during the early s, the true second wave of 3D cinema was set into motion by Arch Oboler, the producer who had started the craze of the s.

Using a new technology called Space-Vision 3D. The origin of "Space-Vision 3D" goes back to Colonel Robert Vincent Bernier, a forgotten innovator in the history of stereoscopic motion pictures.

His Trioptiscope Space-Vision lens was the gold standard for the production and exhibition of 3-D films for nearly 30 years.

This so-called "over and under" technique eliminated the need for dual projector set-ups, and produced widescreen, but darker, less vivid, polarized 3D images.

Unlike earlier dual system, it could stay in perfect synchronization, unless improperly spliced in repair. Arch Oboler once again had the vision for the system that no one else would touch, and put it to use on his film entitled The Bubble , which starred Michael Cole , Deborah Walley , and Johnny Desmond.

As with Bwana Devil , the critics panned The Bubble , but audiences flocked to see it, and it became financially sound enough to promote the use of the system to other studios, particularly independents, who did not have the money for expensive dual-strip prints of their productions.

Louis K. The quality of the s 3D films was not much more inventive, as many were either softcore and even hardcore adult films, horror films, or a combination of both.

Between and there was a new Hollywood 3D craze started by the spaghetti western Comin' at Ya! When Parasite was released it was billed as the first horror film to come out in 3D in over 20 years.

Horror films and reissues of s 3D classics such as Hitchcock's Dial M for Murder dominated the 3D releases that followed.

Apparently saying "part 3 in 3D" was considered too cumbersome so it was shortened in the titles of Jaws 3-D and Amityville 3-D , which emphasized the screen effects to the point of being annoying at times, especially when flashlights were shone into the eyes of the audience.

The science fiction film Spacehunter: Adventures in the Forbidden Zone was the most expensive 3D film made up to that point with production costs about the same as Star Wars but not nearly the same box office success, causing the craze to fade quickly through spring Only Comin' At Ya!

Most of the s 3D films and some of the classic s films such as House of Wax were released on the now defunct Video Disc VHD format in Japan as part of a system that used shutter glasses.

Most of these have been unofficially transferred to DVD and are available on the grey market through sites such as eBay. Stereoscopic movies were also popular in other parts of the world, such as My Dear Kuttichathan , a Malayalam film which was shot with stereoscopic 3D and released in A key point was that this production, as with all subsequent IMAX productions, emphasized mathematical correctness of the 3D rendition and thus largely eliminated the eye fatigue and pain that resulted from the approximate geometries of previous 3D incarnations.

In addition, and in contrast to previous 35mm-based 3D presentations, the very large field of view provided by IMAX allowed a much broader 3D "stage", arguably as important in 3D film as it is theatre.

Echoes of the Sun Roman Kroitor , was the first IMAX film to be presented using alternate-eye shutterglass technology, a development required because the dome screen precluded the use of polarized technology.

From onward, numerous films were produced by all three parties to satisfy the demands of their various high-profile special attractions and IMAX 's expanding 3D network.

Shortly thereafter, higher quality computer animation , competition from DVDs and other media, digital projection, digital video capture, and the use of sophisticated IMAX 70mm film projectors, created an opportunity for another wave of 3D films.

This camera system used the latest HD video cameras, not film, and was built for Cameron by Vince Pace, to his specifications. One of two versions of the album contained a DVD featuring a 3D short film for the track " Bowling Balls ", shot in high-definition video.

The 3D version earned about 14 times as much per screen as the 2D version. This pattern continued and prompted a greatly intensified interest in 3D and 3D presentation of animated films.

In June , the Mann's Chinese 6 theatre in Hollywood became the first commercial film theatre to be equipped with the Digital 3D format. Ben Walters suggested in that both filmmakers and film exhibitors regain interest in 3D film.

There was more 3D exhibition equipment, and more dramatic films being shot in 3D format. One incentive is that the technology is more mature.

Shooting in 3D format is less limited, and the result is more stable. Another incentive was the fact that while 2D ticket sales were in an overall state of decline, revenues from 3D tickets continued to grow at the time.

Through the entire history of 3D presentations, techniques to convert existing 2D images for 3D presentation have existed. Few have been effective or survived.

The combination of digital and digitized source material with relatively cost-effective digital post-processing has spawned a new wave of conversion products.

George Lucas announced that he would re-release his Star Wars films in 3D based on a conversion process from the company In-Three. Later on in , it was announced that Lucas was working with the company Prime Focus on this conversion.

In late , Steven Spielberg told the press he was involved in patenting a 3D cinema system that did not need glasses, based on plasma screens.

A computer splits each film-frame, and then projects the two split images onto the screen at differing angles, to be picked up by tiny angled ridges on the screen.

It has been the 1 film at the box office in several countries around the world, including Russia where it opened in 3D on screens.

On January 19, , U2 3D was released; it was the first live-action digital 3D film. Another R-rated film, The Final Destination , was released later that year in August on even more screens.

It was the first of its series to be released in HD 3D. Major 3D films in included Coraline , Monsters vs. On October 1, Scar3D was the first-ever stereoscopic 3D Video-on-demand film released through major cable broadcasters for 3D televisions in the United States.

In September , Sabucat Productions organized the first World 3-D Exposition, celebrating the 50th anniversary of the original craze.

The Expo was held at Grauman's Egyptian Theatre. During the two-week festival, over 30 of the 50 "golden era" stereoscopic features as well as shorts were screened, many coming from the collection of film historian and archivist Robert Furmanek, who had spent the previous 15 years painstakingly tracking down and preserving each film to its original glory.

In attendance were many stars from each film, respectively, and some were moved to tears by the sold-out seating with audiences of film buffs from all over the world who came to remember their previous glories.

Along with the favorites of the previous exposition were newly discovered features and shorts, and like the previous Expo, guests from each film.

Other "re-premieres" of films not seen since their original release in stereoscopic form included Cease Fire! In the wake of its initial popularity and corresponding increase in the number of screens, more films are being released in the 3D format.

As Brandon Gray of Box Office Mojo notes, "In each case, 3D's more-money-from-fewer-people approach has simply led to less money from even fewer people.

Conflicting reasons are respectively offered by studios and exhibitors: whereas the former blame more expensive 3D ticket prices, the latter argue that the quality of films in general is at fault.

However, despite the perceived decline of 3D in the U. Studios are also using 3D to generate additional income from films that are already commercially successful.

Such re-releases usually involve a conversion from 2D. For example, Disney has reissued both The Lion King and Beauty and the Beast , with plans to add some of its other well-known titles.

Jeffrey Katzenberg , a producer of 3D films and one of the leading proponents of the format, blames oversaturation of the market with inferior films, especially ones photographed conventionally and then digitally processed in post-production.

He claims that such films have led audiences to conclude that the format is not worth the often much higher ticket price.

It may have died from a case of acute septicemia —too much crap in the system. Film critic Mark Kermode , a noted detractor of 3D, has surmised that there is an emerging policy of distributors to limit the availability of 2D versions, thus "railroading" the 3D format into cinemas whether the paying filmgoer likes it or not.

Stereoscopic motion pictures can be produced through a variety of different methods. Over the years the popularity of systems being widely employed in film theaters has waxed and waned.

Though anaglyph was sometimes used prior to , during the early "Golden Era" of 3D cinematography of the s the polarization system was used for every single feature-length film in the United States, and all but one short film.

The following are some of the technical details and methodologies employed in some of the more notable 3D film systems that have been developed.

The standard for shooting live-action films in 3D involves using two cameras mounted so that their lenses are about as far apart from each other as the average pair of human eyes, recording two separate images for both the left eye and the right eye.

In principle, two normal 2D cameras could be put side-to-side but this is problematic in many ways. The only real option is to invest in new stereoscopic cameras.

Moreover, some cinematographic tricks that are simple with a 2D camera become impossible when filming in 3D. This means those otherwise cheap tricks need to be replaced by expensive CGI.

In , Journey to the Center of the Earth became the first live-action feature film to be shot with the earliest Fusion Camera System released in Digital 3D and was later followed by several others.

Avatar was shot in a 3D process that is based on how the human eye looks at an image. It was an improvement to the existing 3D camera system. Many 3D camera rigs still in use simply pair two cameras side by side, while newer rigs are paired with a beam splitter or both camera lenses built into one unit.

While Digital Cinema cameras are not a requirement for 3D they are the predominant medium for most of what is photographed. In the s and s Fleischer Studio made several cartoons with extensive stereoscopic 3D backgrounds, including several Popeye , Betty Boop , and Superman cartoons.

In the early to mids, only half of the major Animation film studios operation experimented with creating traditional 3D animated short subjects.

Walt Disney Studio produced two traditional animation short for stereoscopic 3D, for cinemas. From the late s until the mids almost no animation was produced for 3D display in theaters.

Although several films used 3D backgrounds. One exception is Starchaser: The Legend of Orin. CGI animated films can be rendered as stereoscopic 3D version by using two virtual cameras.

Stop-motion animated 3D films are photographed with two cameras similar to live action 3D films. In The Polar Express was the first stereoscopic 3D computer-animated feature film.

The 3D version was solely release in Imax theaters. The film was converted from 2D into 3D in post production.

No other animation films have released solely in 3D since. The first 3D feature by DreamWorks Animation , Monsters vs Aliens , followed in and used a new digital rendering process called InTru3D , which was developed by Intel to create more realistic animated 3D images.

In the case of 2D CGI animated films that were generated from 3D models, it is possible to return to the models to generate a 3D version.

For all other 2D films, different techniques must be employed. For example, for the 3D re-release of the film The Nightmare Before Christmas , Walt Disney Pictures scanned each original frame and manipulated them to produce left-eye and right-eye versions.

Dozens of films have now been converted from 2D to 3D. There are several approaches used for 2D to 3D conversion , most notably depth-based methods.

However, conversion to 3D has problems. Information is unavailable as 2D does not have information for a perspective view.

Usually, on high frame rate content and on some slower processors even normal frame rate the processor is not fast enough and lag is possible.

This can lead to strange visual effects. Anaglyph images were the earliest method of presenting theatrical 3D, and the one most commonly associated with stereoscopy by the public at large, mostly because of non-theatrical 3D media such as comic books and 3D television broadcasts, where polarization is not practical.

They were made popular because of the ease of their production and exhibition. The first anaglyph film was invented in by Edwin S Porter.

Though the earliest theatrical presentations were done with this system, most 3D films from the s and s were originally shown polarized.

In an anaglyph, the two images are superimposed in an additive light setting through two filters, one red and one cyan. In a subtractive light setting, the two images are printed in the same complementary colors on white paper.

Glasses with colored filters in each eye separate the appropriate images by canceling the filter color out and rendering the complementary color black.

Anaglyph images are much easier to view than either parallel sighting or crossed eye stereograms , although the latter types offer bright and accurate color rendering, particularly in the red component, which is muted, or desaturated with even the best color anaglyphs.

A compensating technique, commonly known as Anachrome, uses a slightly more transparent cyan filter in the patented glasses associated with the technique.

Process reconfigures the typical anaglyph image to have less parallax. An alternative to the usual red and cyan filter system of anaglyph is ColorCode 3-D , a patented anaglyph system which was invented in order to present an anaglyph image in conjunction with the NTSC television standard, in which the red channel is often compromised.

ColorCode uses the complementary colors of yellow and dark blue on-screen, and the colors of the glasses' lenses are amber and dark blue.

The polarization 3D system has been the standard for theatrical presentations since it was used for Bwana Devil in , [75] though early Imax presentations were done using the eclipse system and in the s and s classic 3D films were sometimes converted to anaglyph for special presentations.

The polarization system has better color fidelity and less ghosting than the anaglyph system. In the post-'50s era, anaglyph has been used instead of polarization in feature presentations where only part of the film is in 3D such as in the 3D segment of Freddy's Dead: The Final Nightmare and the 3D segments of Spy Kids 3-D: Game Over.

Anaglyph is also used in printed materials and in 3D television broadcasts where polarization is not practical. To present a stereoscopic motion picture, two images are projected superimposed onto the same screen through different polarizing filters.

As each filter passes only that light which is similarly polarized and blocks the light polarized differently, each eye sees a different image.

This is used to produce a three-dimensional effect by projecting the same scene into both eyes, but depicted from slightly different perspectives.

Since no head tracking is involved, the entire audience can view the stereoscopic images at the same time. Circular polarization has an advantage over linear polarization, in that the viewer does not need to have their head upright and aligned with the screen for the polarization to work properly.

With linear polarization, turning the glasses sideways causes the filters to go out of alignment with the screen filters causing the image to fade and for each eye to see the opposite frame more easily.

For circular polarization, the polarizing effect works regardless of how the viewer's head is aligned with the screen such as tilted sideways, or even upside down.

The left eye will still only see the image intended for it, and vice versa, without fading or crosstalk. Nonetheless, 3D cinema films are made to be viewed without head tilt, and any significant head tilt will result in incorrect parallax and prevent binocular fusion.

In the case of RealD a circularly polarizing liquid crystal filter which can switch polarity times per second is placed in front of the projector lens.

Only one projector is needed, as the left and right eye images are displayed alternately. Optical attachments can be added to traditional 35mm projectors to adapt them for projecting film in the "over-and-under" format, in which each pair of images is stacked within one frame of film.

The two images are projected through different polarizers and superimposed on the screen. This is a very cost-effective way to convert a theater for 3-D as all that is needed are the attachments and a non-depolarizing screen surface, rather than a conversion to digital 3-D projection.

Thomson Technicolor currently produces an adapter of this type. Polarized stereoscopic pictures have been around since , when Edwin H.

Land first applied it to motion pictures. The so-called "3-D movie craze" in the years through was almost entirely offered in theaters using linear polarizing projection and glasses.

Only a minute amount of the total 3D films shown in the period used the anaglyph color filter method.

Linear polarization was likewise used with consumer level stereo projectors. Polarization was also used during the 3D revival of the s.

In the s, computer animation , competition from DVDs and other media, digital projection, and the use of sophisticated IMAX 70mm film projectors, have created an opportunity for a new wave of polarized 3D films.

All types of polarization will result in a darkening of the displayed image and poorer contrast compared to non-3D images. Light from lamps is normally emitted as a random collection of polarizations, while a polarization filter only passes a fraction of the light.

As a result, the screen image is darker. This darkening can be compensated by increasing the brightness of the projector light source.

If the initial polarization filter is inserted between the lamp and the image generation element, the light intensity striking the image element is not any higher than normal without the polarizing filter, and overall image contrast transmitted to the screen is not affected.

In this technology, a mechanism is used to block light from each appropriate eye when the converse eye's image is projected on the screen.

The technology originated with the Eclipse Method, in which the projector alternates between left and right images, and opens and closes the shutters in the glasses or viewer in synchronization with the images on the screen.

Glasses containing liquid crystal that will let light through in synchronization with the images on the cinema, television or computer screen, using the concept of alternate-frame sequencing.

A drawback of this method is the need for each person viewing to wear expensive, electronic glasses that must be synchronized with the display system using a wireless signal or attached wire.

The shutter-glasses are heavier than most polarized glasses, though lighter models are no heavier than some sunglasses or deluxe polarized glasses.

Liquid crystal light valves work by rotating light between two polarizing filters. Due to these internal polarizers, LCD shutter-glasses darken the display image of any LCD, plasma, or projector image source, which has the result that images appear dimmer and contrast is lower than for normal non-3D viewing.

This is not necessarily a usage problem; for some types of displays which are already very bright with poor grayish black levels , LCD shutter glasses may actually improve the image quality.

Thomson Technicolor currently produces an adapter of this type. Distribution Film release wide limited delayed. Main article: 2D to 3D conversion. CGI animated films can be Fucked on train as stereoscopic Girl pisses herself in public version by using two virtual Blair william. Archived from the original on Beep porn 18, However, conversion to 3D has problems.

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