The digital cinema is 3D-ready and provides instant benefit. Enabling 3D on top of a standard 2D digital-cinema installation has become the “killer application” providing much of the justification for the conversion to digital. 3D has moved from limited specialty applications into mainstream exhibition.
The stereoscopic era of motion pictures began in the late 1890s when British film pioneer William Friese-Greene filed a patent for a 3-D movie process. In his patent, two films were projected side by side on screen. The viewer looked through a stereoscope to converge the two images. Because of the obtrusive mechanics behind this method, theatrical use was not practical.
Frederick Eugene Ives patented his stereo camera rig in 1900. The camera had two lenses coupled together 1 3/4 inches apart.
On June 10, 1915, Edwin S. Porter and William E. Waddell presented tests to an audience at the Astor Theater in New York City. In red-green anaglyph, the audience was presented three reels of tests, which included rural scenes, test shots of Marie Doro, a segment of John Mason playing a number of passages from Jim the Penman (a film released by Famous Players-Lasky that year, but not in 3-D), Oriental dancers, and a reel of footage of Niagara Falls. However, according to Adolph Zukor in his 1953 autobiography The Public Is Never Wrong: My 50 Years in the Motion Picture Industry, nothing was produced in this process after these tests.
The earliest confirmed 3-D film shown to a paying audience was The Power of Love, which premiered at the Ambassador Hotel Theater in Los Angeles on September 27, 1922. The camera rig was a product of the film's producer, Harry K. Fairall, and cinematographer Robert F. Elder. It was projected dual-strip in the red/green anaglyph format, making it both the earliest known film that utilized dual strip projection and the earliest known film in which anaglyph glasses were used. Whether Fairall used colored filters on the projection ports or whether he used tinted prints is unknown, but it is the first documented instance of dual-strip projection. After a preview for exhibitors and press in New York City, the film dropped out of sight, apparently not booked by exhibitors, and is now considered lost.
Early in December 1922, William Van Doren Kelley cashed in on the growing interest in 3-D films started by Fairall's demonstration and shot footage with a camera system of his own design. Kelley then struck a deal with Samuel "Roxy" Rothafel to premiere the first in his series of "Plasticon" shorts entitled Movies of the Future at the Rivoli Theater in New York City .
Kelley, who was primarily a producer of color films, used his color system, Prizma, to print his anaglyph films. In early 1923, he shopped around a second Plasticon entitled Through the Trees - Washington D.C., shot by William T. Crespinel, which consisted of stereoscopic views of Washington, D.C., but found no buyers.
A detail from an article about the Teleview system, created by Hammond and Cassidy. Only one feature was ever produced with the system.
Also in December 1922, Laurens Hammond (later inventor of the Hammond organ) and William F. Cassidy unveiled their Teleview system. Teleview was the earliest alternate-frame sequencing form of projection. Through the use of two interlocked projectors, alternating left/right frames were projected one after another in rapid succession. Synchronized viewers attached to the arm-rests of the seats in the theater open and closed at the same time, and took advantage of the viewer's persistence of vision, thereby creating a true stereoscopic image. The only theater known to have installed this system was the Selwyn Theater in New York. Only one show was ever produced for the system, a groups of shorts and the only Teleview feature The Man From M.A.R.S. (later re-released as Radio-Mania) on 27 December 1922 in New York City.
In 1923, Frederick Eugene Ives and Jacob Leventhal began releasing their first stereoscopic shorts made over a three-year period. The first film entitled, Plastigrams, which was distributed nationally by Educational Pictures in the red/blue anaglyph format. Ives and Leventhal then went on to produce the following stereoscopic shorts in the "Stereoscopiks Series" for Pathé Films in 1925: Zowie (April 10), Luna-cy (May 18), The Run-Away Taxi (December 17) and Ouch (December 17).
The late 1920s to early 1930s saw little to no interest in stereoscopic pictures, largely due to the Great Depression. In Paris, Louis Lumiere shot footage with his stereoscopic camera in September 1933. The following year, in March 1934, he premiered his remake of his 1895 film L'Arrivée du Train, this time in anaglyphic 3-D.
In 1936, Leventhal and John Norling were hired based on their test footage to film MGM's Audioscopiks series. The prints were by Technicolor in the red/green anaglyph format, and were narrated by Pete Smith. The first film, Audioscopiks, premiered January 11, 1936 and The New Audioscopiks premiered January 15, 1938. Audioscopiks was nominated for the Academy Award for Short Film - Novelty in 1936.
With the success of the two Audioscopiks films, MGM produced one more short in anaglyph 3-D, another Pete Smith Specialty called Third Dimensional Murder (1941). Unlike its predecessors, this short was shot with a studio-built camera rig. Prints were by Technicolor in red/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 in 1926, 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 1929 had invented and patented a polarizing sheet. In 1932, he introduced Polaroid J Sheet as a commercial product. While his original intention was to create a filter for reducing glare from car headlights, Land did not underestimate the utility of his newly dubbed Polaroid filters in stereoscopic presentations.
In January 1936, Land gave the first demonstration of Polaroid filters in conjunction with 3-D photography at the Waldorf-Astoria Hotel. The reaction was enthusiastic, and he followed it up with an installation at the New York Museum of Science.It is unknown what film was run for audiences with this installation.
Using Polaroid filters meant an entirely new set-up, however. Two prints, each carrying either the right or left eye, had to be synced up in projection using an external selsyn motor. Furthermore, polarized light would not register on a matte white screen, and only a silver screen or screen made of other reflective material would correctly reflect the separate images.
Later that year, the feature, Nozze Vagabonde appeared in Italy, followed by the first color 3-D feature, Zum Greifen Nah which premiered in Germany the following year. It is unknown whether or not these films took advantage of the Polaroid filter system in projection, but the possibility is present.
In 1939, John Norling shot In Tune With Tomorrow, the first Polaroid 3-D film shown for a paying audience in the US. This short premiered at the 1939 New York World's Fair and was created specifically for the Chrysler Motor Pavilion. In it, a full 1939 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 . In 1953, it was reissued by RKO as Motor Rhythm.
Another early short that utilized the Polaroid 3-D process was 1940's Magic Movies: Thrills For You produced by the Pennsylvania Railroad Co. for the Golden Gate International Exposition . Produced by John Norling, it was actually shot for him by Jacob Leventhal using his own rig. It consisted of shots of various views that could be seen on Pennsylvania Railroad's trains.
The 1940s was further hindered by World War II, and stereoscopic photography once again went on the back-burner in most producers' minds.
What aficionados consider the "golden era" of 3-D began in 1952 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. L. Gunzberg. 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.The film stars Robert Stack, Barbara Britton and Nigel Bruce.
As with practically all of the features made during this boom, Bwana Devil was projected dual-strip, with Polaroid filters. During the 1950s, 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.
Because the features utilized two projectors, a capacity limit of film being loaded onto each projector (about 6,000 feet, or an hour's worth of film) meant that an intermission was necessary for every movie. Quite often, intermission points were written into the script of the film at a major plot point.
During Christmas of 1952, producer Sol Lesser quickly premiered the dual-strip showcase called Stereo Techniques in Chicago.Lesser acquired the rights to five dual-strip shorts. Two of them, Now is the Time (to Put On Your Glasses) and Around is Around, were directed by Norman McLaren in 1951 for the National Film Board of Canada. The other three films were produced in Britain for Festival of Britain in 1951 by Raymond Spottiswoode. These were A Solid Explanation, Royal River, and The Black Swan.
James Mage was also an early pioneer in the 3-D craze. Using his 16mm 3-D Bolex system, he premiered his Triorama program on February 10, 1953 with his four shorts: Sunday In Stereo, Indian Summer, American Life, and This is Bolex Stereo . This show is considered lost.
Another early 3-D 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.
April 1953 saw two groundbreaking features in 3-D: Columbia's Man In the Dark and Warner Bros. House of Wax, the first 3-D 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 3-D 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 moviegoers back into theaters and away from television sets, which were causing a steady decline in attendance.
The Walt Disney Studios waded into 3-D with its May 28, 1953 release of Melody, which accompanied the first 3-D western, Columbia's Fort Ti at its Los Angeles opening. It was later shown at Disneyland's Fantasyland Theater in 1957 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.
Universal-International released their first 3-D feature on May 27, 1953, It Came from Outer Space, with stereophonic sound. Following that was Paramount's first feature, Sangaree with Fernando Lamas and Arlene Dahl.
Columbia produced several 3-D westerns produced by Sam Katzman and directed by William Castle. Castle would later specialize in various technical in-theater gimmicks for such Columbia features as 13 Ghosts, House on Haunted Hill, and The Tingler. Columbia also produced the only slapstick comedies conceived for 3-D. The Three Stooges starred in Spooks and Pardon My Backfire; dialect comic Harry Mimmo starred in Down the Hatch. Producer Jules White was optimistic about the possibilities of 3-D as applied to slapstick (with pies and other projectiles aimed at the audience), but only two of his stereoscopic shorts were shown in 3-D. Down the Hatch was released as a conventional, "flat" motion picture. (Columbia has since printed Down the Hatch in 3-D for film festivals.)
John Ireland, Joanne Dru and Macdonald Carey starred in the Jack Broder color production Hannah Lee, which premiered June 19, 1953. The film was directed by Ireland, who sued Broder for his salary. Broder countersued, claiming that Ireland went over production costs with the film.
Another famous entry in the golden era of 3-D 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.Despite these shortcomings and the fact that the crew had no previous experience with the newly-built camera rig, luck was on the cinematographer's side, as many find the 3-D photography in the film is well shot and aligned. Robot Monster also has a notable score by then up-and-coming composer Elmer Bernstein. The film was released June 24, 1953 and went out with the short Stardust in Your Eyes, which starred nightclub comedian, Slick Slavin.
20th Century Fox produced their only 3-D feature, Inferno, starring Rhonda Fleming. Fleming, who also starred in Those Redheads from Seattle, and Jivaro, shares the spot for being the actress to appear in the most 3-D features with Patricia Medina, who starred in Sangaree, Phantom of the Rue Morgue and Drums of Tahiti. 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 3-D craze started in the late summer/early fall of 1953. The factors causing this decline were:
•Two prints had to be projected simultaneously.
•The prints had to remain exactly alike after repair, or synchronization would be lost.
•It sometimes required two projectionists to keep sync working properly.
•When either prints or shutters became out of sync, the picture became virtually unwatchable and accounted for headaches and eyestrain.
•The necessary silver projection screen was very directional and caused sideline seating to be unusable with both 3-D and regular films, due to the angular darkening of these screens. Later films that opened in wider-seated venues often premiered flat for that reason (such at Kiss Me Kate at the Radio City Music Hall).
Because projection booth operators were at many times careless, even at preview screenings of 3-D 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.The project was to be called The 3-D Follies and was to be distributed by RKO.Unfortunately, because of financial difficulties and the growing disinterest in 3-D, Lesser cancelled the project during the summer of 1953, making it the first 3-D film to be aborted in production.Two of the three shorts were shot: Carmenesque, a burlesque number starring exotic dancer Lili St. Cyr. and Fun in the Sun, a sports short directed by famed set designer/director William Cameron Menzies, who also directed the 3-D feature The Maze for Allied Artists.
Although it was more expensive to install, the major competing realism process was anamorphic, first utilized by Fox with Cinemascope and its September premiere in The Robe. Anamorphic features 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 3-D because it was owned by one company that focussed on quality control. However, most of the 3-D features past the summer of 1953 were released in the flat widescreen formats ranging from 1.66:1 to 1.85:1. In early studio advertisements and articles about widescreen and 3-D formats, widescreen systems were referred to as "3-D," causing some confusion among scholars.
There was no single instance of combining Cinemascope with 3-D until 1960, with a film called September Storm, and even then, that was a blow-up from a non-anamorphic negative.September Storm also went out with the last dual-strip short, Space Attack, which was actually shot in 1954 under the title The Adventures of Sam Space.
In December 1953, 3-D made a comeback with the release of several important 3-D films, including MGM's musical Kiss Me, Kate. Kate was the hill over which 3-D had to pass to survive. MGM tested it in six theaters: three in 3-D and three flat.According to trade ads of the time, the 3-D version was so well-received that the film quickly went into a wide stereoscopic release.However, most publications, including Kenneth Macgowan's classic film reference book Behind the Screen, state that the film did much better as a "regular" release. The film, based on the popular Samuel and Bella Spewack musical, starred the MGM songbird team of Howard Keel and Kathryn Grayson as the leads, supported by Ann Miller, Keenan Wynn, Bobby Van, James Whitmore, Kurt Kasznar and Tommy Rall. The film also prominently promoted its use of stereophonic sound.
Several other features that helped put 3-D back on the map that month were the John Wayne feature Hondo (distributed by Warner Bros.), Columbia's Miss Sadie Thompson with Rita Hayworth, and Paramount's Money From Home with Dean Martin and Jerry Lewis. Paramount also released the cartoon shorts Boo Moon with Casper, the Friendly Ghost and Popeye, Ace of Space with Popeye the Sailor. Paramount Pictures released a 3-D Korean War film Cease Fire filmed on actual Korean locations in 1953.
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 3-D.Although the film was shot and edited in 3-D, United Artists, the distributor, felt the production was uneconomical in stereoscopic form and released the film flat on January 27, 1954.It remains one of two "Golden era" 3- D features, along with another United Artists feature, Southwest Passage (with John Ireland and Joanne Dru), that are currently considered lost (although flat versions survive).
A string of successful 3-D movies followed the second wave. Some highlights are:
•The French Line, starring Jane Russell and Gilbert Roland, a Howard Hughes/RKO production. The film became notorious for being released without an MPAA seal of approval, after several suggestive lyrics were included, as well as one of Ms. Russell's particularly revealing costumes.Playing up her sex appeal, one tagline for the film was, "It'll knock both of your eyes out!" The film was later cut and approved by the MPAA for a general flat release, despite having a wide and profitable 3-D release.
•Taza, Son of Cochise, which starred Rock Hudson in the title role, Barbara Rush as the love interest, and Rex Reason (billed as Bart Roberts) as his renegade brother, released through Universal-International.
•Two ape films: Phantom of the Rue Morgue, featuring Karl Malden and Patricia Medina, and produced by Warner Bros. and based on Edgar Allan Poe's "The Murders in the Rue Morgue," and Gorilla At Large, a Panoramic Production starring Cameron Mitchell, distributed through Fox.
•Creature from the Black Lagoon, starring Richard Carlson and Julie Adams, directed by Jack Arnold. Arguably the most famous 3-D movie, and the only 3-D feature that spawned a sequel, Revenge of the Creature in 3-D (followed by another sequel, The Creature Walks Among Us, shot flat).
•Cat-Women of the Moon, an Astor Picture starring Victor Jory and Marie Windsor. Elmer Bernstein composed the score.
•Dial M for Murder, directed by Alfred Hitchcock and starring Ray Milland, Robert Cummings, and Grace Kelly, is considered by aficionados of 3-D to be one of the best examples of the process. Although available in 3-D in 1954, there are no known playdates in 3-D, since Warner Bros. had just instated a simultaneous 3-D/2-D release policy. The film's screening in 3-D in February 1980 at the York Theater in San Francisco did so well that Warner Bros. re-released the film in 3-D in February 1982.
•Gog, an Ivan Tors production, dealing with realistic science fiction. The second film in Tors' "Office of Scientific Investigation" trilogy of film, which included, The Magnetic Monster and Riders to the Stars.
• The Diamond Wizard, the only stereoscopic feature shot in Britain, released flat in both the UK and US. It starred and was directed by Dennis O'Keefe.
•Irwin Allen's Dangerous Mission released by RKO in 1954 featuring Allen's trademarks of an all star cast facing a disaster (a forest fire).
•Son of Sinbad, another RKO/Howard Hughes production, starring Dale Robertson, Lili St. Cyr, and Vincent Price. The film was shelved after Hughes ran into difficulty with The French Line, and wasn't released until 1955, at which time it went out flat, converted to the SuperScope process.
3-D's final decline was in the late spring of 1954, for the same reasons as the previous lull, as well as the further success of widescreen formats with theater operators. Even though Polaroid had created a well-designed "Tell-Tale Filter Kit" for the purpose of recognizing and adjusting out of sync and phase 3-D,exhibitors still felt uncomfortable with the system and turned their focus instead to processes such as CinemaScope. The last 3-D feature to be released in that format during the "Golden era" was Revenge of the Creature, on February 23, 1955. Ironically, the film had a wide release in 3-D and was well received at the box office.
Stereoscopic films largely remained dormant for the first part of the 1960s, with those that were released usually being anaglyph exploitation films. One film of notoriety was the Beaver-Champion/Warner Bros. production, The Mask (1961). 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, the film went to anaglyph 3-D. These scenes were printed by Technicolor on their first run in red/green anaglyph.
Although 3-D films appeared sparsely during the early 1960s, the true second wave of 3-D cinema was set into motion with the same producer who started the craze of the 1950s. Using a new technology called Space-Vision 3D, stereoscopic films were printed with two images, one above the other, in a single academy ratio frame, on a single strip, and needed only one projector fitted with a special lens. This so-called "over and under" technique eliminated the need for dual projector set-ups, and produced widescreen, but darker, less vivid, polarized 3-D images. Unlike earlier dual system, it could stay in perfect sync, 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.
In 1970, Stereovision, a new entity founded by director/inventor Allan Silliphant and optical designer Chris Condon, developed a different 35 mm single-strip format, which printed two images squeezed side-by-side and used an anamorphic lens to widen the pictures through polaroid filters. Louis K. Sher (Sherpix) and Stereovision released the softcore sex comedy The Stewardesses (self-rated X, but later re-rated R by the MPAA). The film cost $100,000 USD to produce, and ran for up to a year in several markets.eventually earning $27 million in North America, alone ($114 million in constant-2007 dollars) in fewer than 800 theaters, becoming the most profitable 3-Dimensional film to date, and in purely relative terms, one of the most profitable films ever. It was later released in 70mm 3-D. Some 36 films world-wide were made with Stereovision over 25 years, using either a widescreen (above-below), anamorphic (side by side) or or 70mm 3-D formats.3-D legend Chris Condon, and Director Ed Meyer, are set to remake The Stewardesses, the most successful 3D film in history, in Real D in 2009.
The quality of the following 3-D films were not much more inventive, as many were either softcore and even hardcore adult films, horror films, or a combination of both. Paul Morrisey's Flesh For Frankenstein (aka Andy Warhol's Frankenstein) was a superlative example of such a combination.
In the 1980s, IMAX (Large format-sideways running, 70mm) began offering non-fiction films in 3-D, starting with the 20-min. National Film Board of Canada production Transitions, created for Expo 86 in Vancouver. The first IMAX 3-D fiction film was the 45-minute Wings of Courage (1995), by director Jean-Jacques Annaud, about the author and pilot Antoine de Saint-Exupéry.
Using the over-under process pioneered by SpaceVision, Hollywood's film-makers hit a craze comparable to that of the one thirty years previous. With the popularity of StereoVision re-issues of House of Wax and Dial M for Murder, newly inspired directors jumped the bandwagon in creating 3-D films geared towards newer, mainstream audiences.
The DCI Stereoscopic Digital Cinema Addendum, published on July 11, 2007 has defined the 3D parameters of Digital 3D Cinema. The specs calls for Single Inventory of Stereoscopic Digital Cinema Packages, forbidding the usage of special copies that require a unique color or density timing. This applies especially to RealD that had to be supplied with a special version of each movie due to RealD’s ghosting problem. The specs also define that Stereoscopic presentations shall interleave the left and right eye frames alternating at a 48 frames per second rate.
RealD became the dominant player in 3D digital cinema in the USA. RealD is running a single digital projector at 144FPS. To separate the images, they place the shuttering system (“Z screen”) in the booth between the projector and the porthole. RealD are using disposable circular polarization glasses. The usage of polarization requires the theater to change the screen into silver screen. Although the Silver screen reduces the quality of the screening, it is accepted almost by all the filmmakers (in some countries like France the use of silver screen is not acceptable) and even has 3D benefits like additional brightness. RealD have almost 1500 screens of which over 90% are in the USA.
XpanD became the dominant player in 3D digital cinema in the Europe. XpanD is running a single digital projector at 144FPS. To separate the images, they place infrared transmitter in the booth, facing the screens. The transmitter uses plug & play infrastructure and it is very easy to move it from theater to theater, a fact that exhibitors find very effective as they can move the 3D system from big screens to small screens. XpanD are using active glasses, which act as high-speed shutters synchronized with the frame being projected. XpanD works with regular white screen and provides the brightest 3D images. The disadvantage of XpanD is that the glasses are expensive and need to be cleaned and recycled. XpanD have almost 300 screens of which over 75% are in Europe.
Dolby 3D was originally developed for industrial application by the German company Infitec. It illuminates each image with light created from three slightly different primary colors. The light is pre-filtered by a spinning filter mounted inside the projector. Dolby’s glasses act as filters that allow light to pass that is made up of the primary colors intended for that eye while blocking the primary colors intended for the opposite eye. Dolby is running a single digital projector at 144FPS. Dolby works with regular white screen. The disadvantage of Dolby is that the glasses are expensive and need to be cleaned and recycled. Dolby have about 100 screens globally.
IMAX Digital / Christie 3D. IMAX digital and Christy 3D are almost identical solutions. Both solutions are using 2 Christie projectors and 1 digital cinema server. While IMAX benefits from the IMAX Brand and is priced accordingly, Christie provides a cost-effective solution for giant screens (screens over 22m wide that RealD / XpanD can not work with due to light limitations). Both companies are placing a static polarize filter in front of each projector. Both companies are using disposable polarization and require the theater to change the screen into silver screen. Migrating from 3D to 2D and vice-versa is extremely complicated, forcing the exhibitor to allocate the screen to 3D permanently.
RealD and IMAX believe that their low-cost glasses are a key advantage over XpanD / Dolby approach, which requires collecting, washing, and maintaining an inventory. XpanD / Dolby believes that maintaining the glasses is easily manageable and cites the advantage of using the existing white screen, which does not potentially compromise the 2D picture quality. XpanD also have an advantage in the projection booth, as the 3D system can be installed in 5 minutes, migrated from screen to screen, and provides migration from 2D to 3D without human intervention. IMAX and Christie 3D solutions are the brightest 3D solutions of all, but it suffer from ghosting due to alignment limitations.
All the 3D systems offer comparable 3D image quality, with each company claiming a slight advance over the other in several technical areas. All companies also claim to be competitive in overall costs. Real D offers three different business models: a flat-rate license, a revenue-sharing plan and a per-seat plan. XpanD & Dolby offers a flat-rate, one-time purchase without future licensing costs. XpanD are proven to be the best solution for multiplexes, RealD are probably the best solution for permanent screens, Christie 3D is the best solution for giant screens and IMAX is the best 3D Brand.
Stereo 3D Challenges:
Convergence/vergence:
The inward and outward rotation of the eyes, in the horizontal direction, producing fusion. Accommodation is the ability of the eyes’ lenses to change shape in order to focus and Accommodation/Vergence Relationship is the relationship between the focusing of the eyes and verging of the eyes when looking at a particular object point in the visual world. When accommodation and vergence match, the time required to fuse stereoscopic stimulus is reduced, distortions in perceived depth are reduced, and viewer fatigue and discomfort are reduced. 3D Cinema target the Percival’s Zone of Comfort, which is the approximate range of vergence and accommodation responses for which the viewer can fuse left and right eye images without discomfort.
Breaking the Frame:
When objects in front of the screen plane (negative parallax) are intersect the edge of frame. This can lead to contradictory depth cues for the viewer. This problem may be reduced by applying a partially transparent mask on the left of the left image and on the right of the right image, reducing the strength of the cues on whichever side the object is breaking frame
Parallax:
Parallax is the distance between corresponding points in two stereoscopic images as displayed. Positive parallax appears to be within a screen or behind the surface of a screen. Zero parallax appears to be in the plane of the screen. Negative parallax appears to be in front of a screen (also known as audience space). The range of distances in audience space from the background point producing maximum acceptable positive parallax to the foreground point producing maximum acceptable negative parallax is known as the depth budget, and may be given as a ratio of screen width.
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3D cinema is the most exciting thing since surround sound
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Wonderful - Thank you!