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The World of 3D Movies” by Eddie Sammons 12 September 2005

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The World of 3D Movies” by Eddie Sammons 12 September 2005 THE WORLD OF 3-D MOVIES Eddie Sammons Copyright 0 1992 by Eddie Sammons. A Delphi Publication. Please make note of this special copyright notice for this electronic edition of “The World of 3-D Movies” downloaded from the virtual library of the Stereoscopic Displays and Applications conference website (www.stereoscopic.org): Copyright 1992 Eddie Sammons. All rights reserved. This copy of the book is made available with the permission of the author for non-commercial purposes only. Users are granted a limited one-time license to download one copy solely for their own personal use. This edition of “The World of 3-D Movies” was converted to electronic format by Andrew Woods, Curtin University of Technology. C 0 N T E N T S. Page PROLOGUE - Introduction to the book and its contents. 1 CHAPTER 1 - 3-D. - -..THE FORMATS 2 Hopefully, the only boring part of the book but necessary if you, the reader, are to understand the technical terms. CHAPTER 2 - 3-D ..... IN THE BEGINNING .... AND NOW 5 A brief look at the history of stereoscopy with particular regard to still photography. CHAPTER 3 - 3-D ....OR NOT 3-D 12 A look at some at some of the systems that tried to be stereoscopic, those that were but not successfully so and some off-beat references to 3-D. CHAPTER 4 - 3-D. - -.- THE MOVIES, A CHRONOLOGY 25 A brief history of 3-D movies, developments in filming and presentation, festivals and revivals - CHAPTER 5 - 3-D. -..THE MOVIES 50 A filmography of all known films made in 3-D with basic credits; notation of films that may have been made in 3-D and correction of various misconceptions; cross-references to alternative titles, and possible English translations of titles; cross-reference to directors of the films listed. CHAPTER 6 - AT HOME WITH 3-D 165 3-D from the armchair with a survey of home movie 3-D releases, 3-0 television, and videograms, including selected listings of broadcasts and video releases. CHAPTER 7 - IS IT TRUE WHAT THEY SAY MOUT 3-D? 160 The industry and the critics speak their minds about 3-D. EPILOGUE - A personal comment with acknowledgements and 192 thanks PROLOGUE One could be forgiven for thinking that 3-D movies were a short- lived sensation of the 1950s. It would be equally forgivable to think. that Hollywood was responsible for most of them. The truth is that there were many films before that era and many since. Whilst over the years Hollywood can take credit for the lion's share of production, output from elsewhere is far from negligible. It is the intention of this work to look at the output of the 3-D movies on an international scale. At this stage it is appropriate to emphasise particularly that the accent is on commercial movies, that is to say, films made with the intention of being shown to the public in cinemas, entertainment venues or, more recently, on video. Such a constraint in scope automatically excludes the work of the amateur film makers except where a commercial release has resulted and, likewise, the technical side and the extensive work of still photographers receive scant mention. There is no lack of deference intended. For where would the film industry be without the skills of the technicians and the dedication in time, money and stamina of the pioneering amateur? Frankly, these aspects of three- dimensional photography have been subjected to far more learned coverage in books and articles over the years. Rather, this is a book that, hopefully, can be delved into at will to gather some facts (maybe some fiction and trivia, too) about stereoscopic movies. Within its own terms the aim is to be complete. A hopeless wish, of course! Who knows what remains in some remote part of the world never to be seen elsewhere? So, at best, this can only be termed a 'near miss' survey of one of the cinema's freaks - a novelty that, phoenix-like, persistently rises again to fascinate both film maker and viewer. Such rebirths find but short lives and are quickly considered dead. Dead? Perhaps, but somehow 3-D will not lie down! Eddie Sammons La Drova, Valencia, Spain 1992 1 3-D .....THE FORMATS As already stated, there is no intention to delve too deeply into the technical side of stereoscopic filming and projection. However, a brief insight into the basics is necessary for comprehension of the few technical terms and systems used. There are many varieties on the same theme but essentially stereoscopic filming can be grouped as follows: 1) Using two cameras 2) Using one camera and two films 3) Using one camera and one film. 1) Two cameras. This system dates from the early days of still photography when the two cameras were placed side by side to represent the human eyes. Initially this produced incorrect 3-D since the distance between the two lenses was not always that of the eyes (about 21/~ inches <64mm. >) and is variable with the distance of the scene. As soon as this was realised, there were revised developments. Three basic systems grew from them. a) Two side- by-side synchronised cameras as seen in Fig.1.This format was used by Universal Fig. 1. and Columbia for their own productions - b) Two cameras facing each other with the scene relected into each one by means of a mirror as illustrated in Fig.2. This was used up to the late 1950s Fig. 2. under such names as Natural I 1 Vision, Paramount, Stereo -Cine and its British parent,Stereo Techniques. The system was not without its limitations. c) Two cameras at 800 to each other with a half - silvered ' beam splitter ' mirror between them as in Fig.3.The critical placing of the mirror and the loss of light were draw-backs and it was mainly used by Fig. 3. Warner Bros. and Technicolor. 2) One cameraltwo films. The concept of a single camera with two lenses and mechanisms operating two films dates from the 1920s. a) The principle is as set out above and as shown in Fig.4. The camera developed by John Norlirig was the most success- ful but the only other use of it was by R. K. 0. The system of Carroll Dunning was used for, Fig. 4. as far as is known, one short A film only. 2 3) One camera/one film. Again the idea of this dates back to the 1930s and 1940s with developments in Europe. a) Two views are taken not only from the prescribed horizon- tal base but vertical height as well.This was the basis of the later Dutch VeriVision Fig. 5. system as illustrated in Fig. 5. Very litte commercial use, if any,was made of this. b> Two views are obtained by use of angled prisms to reflect the images. Bolex, Stereovision and Spacevision employ this system, or variations of it, which is capable of good Fig. 6. results and effects. See Fig. 6 c> Two views are obtained using m a single lens with coloured filters behind it which has the effect of splitting the image vertically. This is the basis of the Video West and Fig. 7. Triangle 3-D systems.It is an anaglyphic format. See Fig. 7. Other concepts of stereoscopic photography rely upon the film stock itself. One system involves the embossing of the film base with extremely small cylindrical lenses. This allows the camera to capture a multiplicity of viewpoints when the camera is used in certain ways moving laterally. Any over-simplification such as the foregoing must inevitably do a disservice to the science and technology involved and to those striving for perfection. It is impossible to acknowledge even all of the known systems and the film makers using them. The intention has been rather to give a basic outline and a form of identification for the reader to apply throughout the book. Indeed, the myriad of variations, past and present, have been both a blessing and a curse to 3-D. Of course improvements are always to be welcomed, but a lack of a norm from which to work can often lead to distrust and dissatisfaction. The number of systems used in the 1950s must have caused considerable frustration although the Natural Vision system perhaps came as near as anything to setting the required norm until the arrival of single-film format. The problems that arise from the two-film systems and therefore the use of two projectors are numerous. The most obvious ones are: a> careful matching required when rejoining after a film break. b) break required for change of reels. c> possible loss of left or right copy denies 3-D projection. d) breakdown of one projector renders 3-D projection impossible. The arrival of the single-film systems obviously had advantages. Even then the theme still had a number of variations. In simple terms the two images are recorded on one frame. Sometimes side-by - 3 side, sometimes above and below. Variations include: the two images on their sides, that is, rotated 300 and ’squeezed’ anamorphic images. Then there are the different film guages used.. .... .Perhaps the following illustrations will help. Standard 1.3 : 1 Anamorphic ‘squeezed ’ ratio as used in vertically, projects dual projection as 1.3 : 1. systems. Stacked ‘scope‘ Rnamorphic rotated which projects 300, Projects as as 2.35 : 1. 1.05 : 1. 70 mm. side-by-side 35 mm. images, which could and right. 4 0 R4 D tJ 0.
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