3-D Film

3-D Film
http://en.wikipedia.org/wiki/3-D_film


A 3-D film or S3D film[1] is a motion picture which provides the illusion of depth perception. Derived from stereoscopic photography, a special motion picture camera is used to record the images as seen from two perspectives, and special projection hardware and/or eyewear are used to provide the illusion of depth when viewing the film. 3-D films are not limited to feature film theatrical releases; television broadcasts and direct-to-video films have also incorporated similar methods, primarily for marketing purposes.

3-D films have existed in some form since 1890, but were largely relegated to a niche in the motion picture industry because of the costly hardware and processes required to produce and display a 3-D film, and the lack of a standardized format for all segments of the entertainment business. Nonetheless, 3-D films were prominently featured in the 1950s and 1980s in American cinema, and are currently experiencing a worldwide resurgence coinciding with the development of computer-generated imagery and the introduction of high-definition video standards.


Techniques
Stereoscopic motion pictures can be produced through a variety of different methods. Over the years the popularity of various systems being widely employed in movie theaters has waxed and waned. Though anaglyph was sometimes used prior to 1948, during the early "Golden Era" of 3-D cinematography of the 1950s the polarization system was used for every single feature length movie in the United states, and all but one short film[2]. In the 21st century, polarization 3-D systems have continued to dominate the scene, though during the 60s and 70s some classic films which were converted to anaglyph for theaters not equipped for polarization, and were even shown in 3D on TV[3]. In the years following the 90s, some movies were made with short segments in anaglyph 3D. Following are some of the technical details and methodologies employed in some of the more notable 3-D movie systems that have been developed:


Anaglyph

Anaglyph images were the earliest method of presenting theatrical 3-D, and the one 3-D method most commonly associated with stereoscopy by the public at large, mostly because of non theatrical 3D media such as comic books and 3D TV, where polarization doesn't work. They were made popular because of the ease of their production and exhibition. Though the earliest theatrical presentations were done with this system, most 3D movies from the 50s and 80s were originally shown polarized.[4]

In an anaglyph, the two images are either 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 either 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, to 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 anaglyph 3-D system was the earliest system used in theatrical presentations and requires less specialized hardware, but the polarization 3-D system has been the standard for theatrical presentations since it was used for Bwana Devil in 1952[4], though early Imax presentations were done using the eclipse system and in the 60s and 70s classic 3D movies 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 movie is in 3D such as in the 3D segment of Nightmare on Elmstreet 6: Freddy's dead and the 3D segments of Spy kids 3D.
[edit] Eclipse method

With the eclipse method, a mechanical shutter blocks light from each appropriate eye when the converse eye's image is projected on the screen. 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. This was the basis of the Teleview system which was used briefly in 1922.[5]

A variation on the eclipse method is used in LCD shutter glasses. Glasses containing liquid crystal that will let light through in synchronization with the images on the computer display or TV, using the concept of alternate-frame sequencing. This is the method used by XpanD
[edit] Lenticular or barrier screens

In this method, glasses are not necessary to see the stereoscopic image.

Both images are projected onto a high-gain, corrugated screen which reflects light at acute angles. In order to see the stereoscopic image, the viewer must sit within a very narrow angle that is nearly perpendicular to the screen, limiting the size of the audience. Lenticular was used for theatrical presentation of numerous shorts in Russia from 1940-1948[3] and in 1954 for the feature length films Crystal, Machine 22-12 and The Pencil on Ice.[6]

Though its use in theatrical presentations has been rather limited, lenticular has been widely used for a variety of novelty items and has even been used in amateur 3D photography.[7][8]
[edit] Interference filter technology

Dolby 3D uses specific wavelengths of red, green, and blue for the right eye, and different wavelengths of red, green, and blue for the left eye. Eyeglasses which filter out the very specific wavelengths allow the wearer to see a 3D image. This technology eliminates the expensive silver screens required for polarized systems such as RealD, which is the most common 3D display system in theaters. It does, however, require much more expensive glasses than the polarized systems. It is also known as wavelength multiplex visualization.
[edit]


Pulfrich

The Pulfrich effect is based on the phenomenon of the human eye processing images more slowly when there is less light, as when looking through a dark lens.


Imagine a camera which starts at position X and moves left to right to position Y as shown by the arrow. If a viewer watches this segment with a dark lens over the left eye, then when the right eye sees the image recorded when the camera is at Y, the left eye will be a few milliseconds behind and will still be seeing the image recorded at X, thus creating the necessary parallax to generate right and left eye views and 3D perception, much the same as when still pictures are generated by shifting a single camera. The intensity of this effect will depend on how fast the camera is moving relative to the distance to the objects, greater speed creates greater parallax. A similar effect can be achieved by using a stationary camera and continuously rotating an otherwise stationary object. If the movement stops, the eye looking through the dark lens (which could be either eye depending on the direction the camera is moving) will "catch up" and the effect will disappear.

Of course, incidental movement of objects will create spurious artifacts, and these incidental effects will be seen as artificial depth not related to actual depth in the scene. Unfortunately, many of the applications of pulfrich involve deliberately causing just this sort of effect and this has given the technique a bad reputation. When the only movement is lateral movement of the camera then the effect is as real as any other form of stereoscopy, but this seldom happens except in highly contrived situations.

Though pulfrich as has been used often on TV and in computer games, it is rarely if ever used in theatrical presentations.
[edit] Artificial systems

Alternative systems, such as Chromadepth exist, but they could be considered artificial in that while the impression of depth seems very real because the right and left eyes do see different viewpoints, the depth perceived has nothing to do with the actual depth of the object.
[edit] Systems without glasses

Several other less popular 3-D systems exist which also do not require the use of special viewing glasses. These systems are referred to as Autostereoscopic displays.
[edit] Polarization systems

In stereoscopy, two forms of polarization filters are used: linearly polarized glasses and circularly polarized glasses (see the relevant sections in 3D glasses for further reading.)

With linear polarization, in order to present a stereoscopic motion picture, two images are projected superimposed onto the same screen through orthogonal (at 90 degree angles of each other) polarizing filters. A specially constructed non-depolarizing silver screen surface is required to preserve the polarization and compensate for light loss since both the glasses and the polarizers cut down the light. The projectors can receive their outputs from a computer with a dual-head graphics card. The viewer wears low-cost eyeglasses which also contain a pair of orthogonal polarizing filters. As each filter only passes light which is similarly polarized and blocks the orthogonally polarized light, each eye only sees one of the images, and the effect is achieved. Linearly polarized glasses require the viewer to keep his or her head level, as tilting of the viewing filters will cause the images of the left and right channels to bleed over to the opposite channel. This is generally not a problem as viewers learn very quickly not to tilt their heads. In addition, since no head tracking is involved, several people can view the stereoscopic images at the same time.

In using circular polarization, two images are projected superimposed onto the same screen through circular polarizing filters of opposite handedness. The viewer wears low-cost eyeglasses which contain a pair of analyzing filters (circular polarizers mounted in reverse) of opposite handedness. Light that is left-circularly polarized is extinguished by the right-handed analyzer; while right-circularly polarized light is extinguished by the left-handed analyzer. The result is similar to that of stereoscopic viewing using linearly polarized glasses; except the viewer can tilt his or her head and still maintain left/right separation. This can lead to eye strain because tilting the head causes vertical misalignment. This system also has slightly more ghosting than linear polarization. In the case of RealD a circularly polarizing liquid crystal filter which can switch polarity many times per second is placed on front of the projector lens. Only one projector is needed, as the left and right eye images are displayed alternately. Sony features a new system called RealD XLS, which shows both circular polarized images simultaneously: A single 4K projector displays both 2K images above each other, a special lens attachement polarizes and projects the images on top of each other.[9]

Due to recent advances in polarization related technologies, polarization 3-D systems are likely to remain the most popular 3-D systems for movies in the 21st century.[10]

History

Early patents and tests

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.[11]

Frederick Eugene Ives patented his stereo camera rig in 1900. The camera had two lenses coupled together 1 3/4 inches apart.[12]

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.[13] 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.
[edit] Early systems of stereoscopic filmmaking (pre-1952)

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.[14][15][16] The camera rig was a product of the film's producer, Harry K. Fairall, and cinematographer Robert F. Elder.[11] 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.[17] 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, inventor of the Prizma color system, 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 .[18]

Kelley, who was an early producer of color films, used 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.[18]
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 film 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 December 27, 1922 in New York City.[19]

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).[20]

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 in the category Best Short Subject, 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.
[edit] Introduction of Polaroid

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 1929 had invented and patented a polarizing sheet.[21] In 1932, he introduced Polaroid J Sheet as a commercial product.[22] 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.[citation needed] The reaction was enthusiastic, and he followed it up with an installation at the New York Museum of Science.[citation needed] It is unknown what film was run for audiences with this installation.

Using Polaroid filters meant an entirely new form of projection, 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 in Germany by Zum Greifen Nah (You Can Nearly Touch It), and again in 1939 with Germany's Sechs Mädel Rollen Ins Wochenend (Six Girls Drive Into the Weekend). 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 1936; they were also independently made around the same time in Germany by E. Käsemann and by J. Mahler.[23]

In 1939, John Norling shot In Tune With Tomorrow, the first commercial 3-D film using Polaroid in the US[citation needed]. 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[citation needed]. 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[citation needed]. 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.
[edit] The "golden era" (1952–1955)

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.[24] The film starred 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 (1,800 m), 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.[25] 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 16 mm 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[26]. 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 counter-sued, claiming that Ireland went over production costs with the film.[citation needed]

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.[citation needed] 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.[citation needed]

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."[citation needed]

Sol Lesser attempted to follow up Stereo Techniques with a new showcase, this time five shorts that he himself produced.[citation needed] The project was to be called The 3-D Follies and was to be distributed by RKO.[citation needed] Unfortunately, because of financial difficulties and the growing disinterest in 3-D, Lesser canceled the project during the summer of 1953, making it the first 3-D film to be aborted in production.[citation needed] 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 focused 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.[citation needed] 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.[citation needed] 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.[citation needed] 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, adapted from the popular Cole Porter Broadway 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.[citation needed] 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.[citation needed] 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.[citation needed] 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.[citation needed]
* 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,[citation needed] 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.[27]
[edit] Revival (1960–1979) in single strip format

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.[citation needed] 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 70 mm 3-D. Some 36 films worldwide were made with Stereovision over 25 years, using either a widescreen (above-below), anamorphic (side by side) or 70 mm 3-D formats.[citation needed] 3-D legend Chris Condon, and Director Ed Meyer, are set to remake The Stewardesses, the most successful 3D film in history, in XpanD 3D, RealD Cinema and Dolby 3D in 2009.

The quality of the following 3-D films was 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.
[edit] The revival's apex (1980–1984)

In the 1980s, IMAX (Large format-sideways running, 70 mm) 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. Some of these included:

* Amityville 3-D
* Comin' at Ya!
* Treasure of the Four Crowns
* Friday the 13th Part III
* Jaws 3-D
* The Man Who Wasn't There (1983)
* Metalstorm: The Destruction of Jared-Syn
* Parasite
* Silent Madness
* Spacehunter: Adventures in the Forbidden Zone
* Starchaser: The Legend of Orin

Only Comin' At Ya!, Parasite, and Friday the 13th Part III have been officially released on VHS and/or DVD in 3-D in the United States (although Amityville 3-D has seen a 3-D DVD release in the United Kingdom). Most of the 80s 3D movies and some of the classic 50s movies 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 gray market through sites such as eBay.
[edit] The World 3-D Exposition

In September 2003, 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.

In May 2006, the second World 3-D Exposition was announced for September of that year, presented by the 3-D Film Preservation Fund. Along with the favorites of the previous exposition were newly discovered features and shorts, and like the previous Expo, guests from each film. Expo II was announced as being the locale for the world premiere of several films never before seen in 3-D, including The Diamond Wizard and the Universal short, Hawaiian Nights with Mamie Van Doren and Pinky Lee. Other "re-premieres" of films not seen since their original release in stereoscopic form included Cease Fire!, Taza, Son of Cochise, Wings of the Hawk, and Those Redheads From Seattle. Also shown were the long-lost shorts Carmenesque and A Day in the Country (both 1953) and William Van Doren Kelley's two Plasticon shorts (1922 and 1923).
[edit] Development of education

In November 2009, Emily Carr University of Art and Design and Lucasfilm spinoff, Kerner Studios, announced the establishment of a stereoscopic 3-D research studio. The studio will undertake local film production, experimental film and the establishment of certification and degree-level education of stereographers.[28]


The modern 3D revival (2003–present)

In 2003, James Cameron's Ghosts of the Abyss was released as the first full-length 3-D IMAX feature filmed with the Reality Camera System. This camera system used the latest HD video cameras, not film, and was built for Cameron by Emmy nominated Director of Photography Vince Pace, to his specifications. The same camera system was used to film Spy Kids 3D: Game Over (2003), Aliens of the Deep IMAX (2005), and The Adventures of Sharkboy and Lavagirl in 3-D (2005).

In August 2004, rap group Insane Clown Posse released their ninth studio album Hell's Pit. One of two versions of the album contained a DVD featuring a short film for the track "Bowling Balls". This was the first 3-D film shot in hi-definition video, making a world record.[29]

In November 2004, The Polar Express was released as IMAX's first full-length, animated 3-D feature. It was released in 3,584 theaters in 2D, and only 66 IMAX locations. The return from those few 3-D theaters was about 25% of the total. The 3-D version earned about 14 times as much per screen as the 2D version. This has prompted a greatly intensified interest in 3-D and 3-D presentation of animated films.

In June 2005, The Mann's Chinese 6 theatre (now Grauman's Chinese Theatre) in Hollywood became the first commercial movie theatre to be equipped with the Digital 3D format. Both Singing In The Rain and The Polar Express were tested in the Digital 3D format over the course of several months.

In November 2005, Walt Disney Studio Entertainment released Chicken Little in digital 3-D format.

In 2007 Scar3D premiered internationally (the film has yet to be released in the US). It was the first feature length narrative 3D movie be completed in a completely digital workflow. The production workflow was designed by NHK and DitlevFilms. The postproduction process was designed and implemented by Christian Ditlev Bruun (DitlevFilms) and included FotoKem and Technicolor in Los Angeles. Final stereoscopic adjustments were done in Skip City in Kawaguchi, Japan with NHK.

In January, 2008, 3ality Digital and National Geographic Entertainment released U2 3D, the first live-action movie to be totally shot in digital 3D using software and camera technology developed by 3ality Digital.

The Butler's in Love, a short film directed by David Arquette and starring Elizabeth Berkley and Thomas Jane,[30] was released on June 23, 2008. The film was shot the former Industrial Light and Magic studios using KernerFX's prototype Kernercam stereoscopic camera rig.

Ben Walters suggests that both filmmakers and film exhibitors regain interest in 3-D film. There are now more 3-D exhibition equipments, and more dramatic films being shot in 3-D format. One incentive is that the technology is more mature. Shooting in 3-D format is less limited, and the result is more stable. Another incentive is the fact that while 2-D ticket sales are in an overall state of decline, revenues from 3-D tickets continue to grow.[31]

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. In June 2006, IMAX and Warner Brothers released Superman Returns including 20 minutes of 3-D images converted from the 2-D original digital footage. George Lucas has announced that he may re-release his Star Wars films in 3-D based on a conversion process from the company In-Three.

Animated films Open Season, and The Ant Bully, were released in Analog 3D in 2006. Monster House and The Nightmare Before Christmas were released on XpanD 3D, RealD and Dolby 3D systems in 2006.

In late 2005, Steven Spielberg told the press he was involved in patenting a 3-D cinema system that does not need glasses, and which is 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.

On May 19, 2007 Scar3D opened at the Cannes Film Market. It was the first US produced 3D full length feature film to be completed in the Real D 3D. It has been the #1 film at the box office in several countries around the world, including Russia where it opened in 3D on 295 screens.

On February 1, 2008, Walt Disney Pictures released Hannah Montana & Miley Cyrus: Best of Both Worlds Concert, which is in the Disney Digital 3D format concert film of Miley Cyrus' 2007-08 Best Of Both Worlds Concert Tour.

On July 11, 2008, Warner Bros. released Journey to the Center of the Earth (2008) in Real D 3D. Journey was filmed with Pace camera rigs with pick-up shots being captured with Kernercam rigs by Kerner Camera Technologies.

On November 21, 2008 (February 6, 2009, UK), Walt Disney Pictures, released Bolt (2008) in Disney Digital 3D.

On January 16, 2009, Lionsgate released My Bloody Valentine 3D, the first horror film and first R-rated film to be projected in Real D 3D.[32] It was released to 1,033 3D screens, the most ever for this format, and 1,501 regular screens.

On February 6, 2009 LAIKA released Coraline, directed by Henry Selick, and based on the book Coraline by Neil Gaiman.

On March 27, 2009, Dreamworks Animation released Monsters vs. Aliens, their first 3D film, done with InTru3D technology.

On May 7, 2009 the British Film Institute commissioned a 3D film installation. The film Radio Mania: An Abandoned Work consists of two screens of stereoscopic 3D film with 3D Ambisonic sound. It stars Kevin Eldon and is by British artists Iain Forsyth and Jane Pollard.

The first 3-D Webisode series will be Horrorween starting September 1, 2009.

On May 29, 2009 Walt Disney Pictures and Disney Digital 3-D released Pixar's first 3-D feature film, Up.

On August 21, 2009 X Games 3D: The Movie became the first action sports 3D film as well as ESPN's first theatrical 3D release and the first Disney Digital 3-D release from a subsidiary of Disney.

On August 28, 2009 The Final Destination was released in Real D 3D and D-BOX.

On December 18, 2009 James Cameron's Avatar was released in traditional 2D, Real D 3D and IMAX 3D.

Criticisms

Not everyone can view 3D films. Most people experience full normal stereo vision, but even a modest difference in the strength and/or clarity an individuals eyes can prevent them from being able to see the images presented in a 3D film. There is no adequate solution so far to this problem, and it remains a fact that some otherwise normal-visioned people will never benefit from the films released using these methods.

See also

* List of 3-D films
* 3-D Film Preservation Fund
* 3D television
* 3D display
* Autostereoscopy
* Stereoscopy
* Volumetric display
* RealD Cinema

[edit] Notes

1. ^ Filmmakers like S3D's emotional wallop - Entertainment News, Technology News, Media - Variety
2. ^ Amazing 3D by Hal Morgan and Dan Symmes Little, Brown & Company (Canada) Limited, pages 165-168
3. ^ a b Amazing 3D by Hal Morgan and Dan Symmes Little, Brown & Company (Canada) Limited, page 163
4. ^ a b Amazing 3D by Hal Morgan and Dan Symmes Little, Broawn & Company (Canada) Limited, pages 165-169
5. ^ Amazing 3D by Hal Morgan and Dan Symmes Little, Broawn & Company (Canada) Limited, pages 15-16
6. ^ Amazing 3D by Hal Morgan and Dan Symmes Little, Brown & Company (Canada) Limited, page 166-167
7. ^ Make Your own Stereo Pictures Julius B. Kaiser The Macmillan Company 1955 pp. 12-13 Lentic corporation handled the processing as well
8. ^ Son of Nimslo, John Dennis, Stereo World May/June 1989 pages 34-36
9. ^ Sony Digital Cinema 3D presentation
10. ^ Manjoo, Farhad. A look at Disney and Pixar's 3-D movie technology. 2008.04.09. Downloaded 2009.06.07
11. ^ a b Limbacher, James L. Four Aspects of the Film. 1968.
12. ^ Norling, John A. "Basic Principles of 3-D Photography and Projection" New Screen Techniques, P. 48
13. ^ Denig, Lynde. "Stereoscopic Pictures Screened" Moving Picture World, June 26, 1915, P. 2072.
14. ^ imdb.com
15. ^ silentera.com
16. ^ Ray Zone, Stereoscopic cinema & the origins of 3-D film (University Press of Kentucky, 2007) ISBN 0813124611, p. 110
17. ^ "3-D Power" Article about the making of "The Power of Love" by Daniel L. Symmes
18. ^ a b "3-D Lost and Found," by Daniel L. Symmes
19. ^ "The Chopper," article by Daniel L. Symmes
20. ^ SEZIONI99-REDISC-TECN
21. ^ Instant History
22. ^ Edwin Herbert Land
23. ^ Weber, Frank A., M.Sc (1953). "3-D in Europe", New Screen Techniques. 71.
24. ^ Gunzberg, M.L. (1953). "What is Natural Vision?", New Screen Techniques. 55-59.
25. ^ “Lesser Acquires Rights to British Tri-Opticon.” BoxOffice Oct. 25, 1952: 21.
26. ^ "Just Like 1927." BoxOffice Feb. 7, 1953: 12.
27. ^ Amazing 3D by Hal Morgan and Dan Symmes Little, Broawn & Company (Canada) Limited, pages 104-105
28. ^ "Vancouver Sun - Kerner, Emily Carr University team up to produce 3-D movies". http://www.vancouversun.com/business/Kerner+Emily+Carr+University+team+produce+movies/2243161/story.html.
29. ^ Anderson, John (March 26, 2009). "3-D not an alien concept in Hollywood". Newsday. http://www.azcentral.com/thingstodo/movies/articles/2009/03/26/20090326danimation0326.html. Retrieved April 4, 2009.
30. ^ The Hollywood Reporter
31. ^ Walters, Ben. "The Great Leap Forward." Sight & Sound, 19.3. (2009) pp. 38-41.
32. ^ "Movies". Los Angeles Times. January 11, 2009. http://www.latimes.com/entertainment/la-ca-list-movies11-2009jan11,0,4953295.story. Retrieved January 21, 2009. [dead link]

External links

* Directory of 3-D (Stereo) Motion Pictures
* 3-D Filmmaking from Script to Screen (from video to 35 mm, 1923 to 2023)
* Choice in 3-D Digital Cinema MKPE Consulting LLC








List of 3-D films
http://en.wikipedia.org/wiki/List_of_3-D_films


This list of 3-D films gives original title, production country (or US production company), year, 3-D system filmed in, and, when different, the 3-D projection system.

Most of these films are described in more detail in the book Movies A History and Filmography of Stereoscopic Cinema by R. M. Hayes - and of course on the IMDb. See also Amazing 3-D by Hal Morgan & Dan Symmes and Der 3-D-Film by Peter Hagemann (in German and published in 1980 in connection with the 3-D retrospective at the Berliner Filmfestspiele).

There are basically three systems: (see 3-D film techniques for more information)

* Anaglyphic (A) - the two images printed in different colors on the same strip (sometimes on different strips)
* Polarized (P) - the two images printed on different strips (P) OR printed side-by-side on the same strip (Ps) OR printed over-and-under on the same strip (Po)
* Lenticular (L)



0-9

* 3D Dinosaurs & Other Amazing Creatures
* 3-D Jamboree (Disney 1956) Natural Vision 3-Dimension - dual 35 mm - incl Melody & Working for Peanuts
* The III-D Olympiad (1986) Elgeet Stereo - 16 mm Ps .67:1
* 3-D on Parade (1981) StereoVision - Po 2.35:1
* 3-Dynavision (1973) dual 70 mm - shown Po
* 6 Mädels rollen ins Wochenend: Eine Raumfilm-Studie von Zeiss-Ikon (Germany 1939) Raumfilm-System Zeis Ikon - Ps vertical 1.66:1
* The Cheeky Monkey Clan

[edit] A

* Abra Cadabra (Australia 1985) advertised as 3-D but it was animation shot in multiplane
* Adam and Six Eves (1962) Natural Vision 3-Dimension - dual 35 mm P
* Adolph Zukor Introduces Paravision (Paramount 1953) Paravision - dual 35 mm, 1.66:1
* Adventures in Animation 3D
* The Adventures of Shark Boy & Lava Girl (2005)
* Aerosmith (US 1983) single strip over-and-under 2.35:1
* African Adventure: Safari in the Okavango (2007)
* Air Guitar 3-D (2009)
* Air Junction (US 1953) Stereo Techniques - dual 35 mm
* Alaska 3D - Flora, Fauna and Fishin!
* Aleko (Soviet 1953) Stereofilm - L 1.37:1
* Alien Adventure
* Aliens of the Deep
* Állatkerti séta (Hungary 1952) Plasztikus Film - Po 2:1
* American Life (US 1953) Bolex Stereo - Ps 16 mm 0.67:1
* America's Greatest Roller Coaster Thrills 2 in 3-D
* Amityville 3-D (Orion 1983) ArriVision - Po 2.35:1
* The Ant Bully (2006)
* A*P*E (Worldwide 1976) Spacevision - Po 2.35:1
* Appleseed (2004)[citation needed]
* Appleseed Ex Machina (2007)[citation needed]
* Arena (MGM 1953) Metrovision Tri-Dee - dual 35 mm P
* Around Is Around (Canada/UK 1951) Stereo Techniques - dual 35 mm P
* Around the World in 50 Years (2010)
* L'arrivée du train (France 1903) Steroscopic Lumière - dual 35 mm, shown A
* Artista vizsga (Hungary 1952) Plasztikus Film - Po 2:1
* Asylum of the Insane (Regal 1971) HorrorScope 3-D - polybiochromatic A
* Assignment A-Bomb (1953) P
* Audioscopiks (MGM 1936) Norling Leventhal 3-Dimensions - dual 35 mm - shown A
* Avatar (2009)

[edit] B

* Bandit Island (Lippert 1953) Stereovision - dual 35 mm Available P or A
* Barge Dwellers (Lenny Lipton 1978) Lipton Three-Dimensional Filmmaking System - dual Super 8
* Beauty Girls for Love (US 1983) ArriVision - Po 2.35:1
* Bebop Bambozzled (NBC 1989) Nuoptix
* Begynnelsen (DKM Forum 2007) DKM Forum
* Beliy pudeli (Soviet 1955) Stereofilm - Ps 1.37:1
* Bella su mesura (Italy 1953) Tridimensionale Christian - dual 35 mm P
* Bellboy and the Playgirls (Joseph Brenner 1962) Optovision - dual 16 mm - shown in 35 mm Ps/A 1.66:1 - director: Francis Ford Coppola
* Beowulf (2007)
* Bermuda Isle of Dreams (1953) Bolex Stereo - 16 mm Ps .67:1
* Black Lolita (Parliament 1975) Deep Vision - polybiochromatic A
* The Black Swan (UK 1952) Stereo Techniques - dual 35 mm P
* Blonde Emmanuelle in 3-D (re-release of: Disco Dolls in Hot Skin) (1984) Deep Vision - polybiochromatic A
* Bolt (2008)
* Boo Moon (Paramount 1954) Stereotoon - dual 35 mm P - Casper the Friendly Ghost, 1.66:1
* The Bounty Hunter (Warner 1954) Warner Vision 3-Dimension - dual 35 mm, released flat, 1.85:1
* The Bubble (Arch Oboler 1966) Space-Vision Tri-Optiscope 4-D - Po 2.35:1 - renamed: Fantastic Invasion of the Planet Earth
* Bugs! (2003)
* Bullfighting in Spain (UK 1953) Stereo Techniques - dual 35 mm
* Bwana Devil (Gulu/Oboler 1952) Natural Vision 3-Dimension - dual 35mm P

[edit] C

* Camp Blood
* Camp Blood 2
* The Capitol Hill Girls (1977) Polarized LazerVision - StereoVision - 35 mm Ps anamorphic 1.33:1
* Capstan Cigarettes (UK 1953) Stereo Techniques - dual 35 mm P
* Captain EO (Disney 1986) Disney 3-D - dual 70 mm 2.20:1
* Captain Milkshake (1970) Cinedepth - dual Techniscope - not released in 3-D
* Carnival in April (Universal 1953) Universal 3-D - dual 35 mm P 1.85:1
* Cat-Women of the Moon (Astor 1954) Tru-Stereo 3-Dimension - dual 35 mm P 1.85:1
* Cavalleria rusticana (Italy 1963) Tridimensionale Christiani - dual 35 mm
* Cease Fire! (Paramount/Wallis 1954) Paravision - dual 35 mm P 1.66:1
* Chain Gang (1984) StereoVision - Po 2.35:1
* The Chamber Maids (Ciem 1972) Ps anamorphic 1.33:1
* Champagnegalopp (Sweden 1975) Space Cinema Camera 3D Wondavision - Ps vertical 1.66:1 - English title: The Groove Room /A Man with a Maid /What the Swedish Butler Saw
* The Charge at Feather River (Warner 1953) Natural Vision 3-Dimension - dual 35 mm P 1.37:1
* Chelovek v zelenoy perchatke (Soviet 1968) Stereo 70 - 70 mm Ps 1.37:1
* Chicken Little (Disney Digital 3D version)
* Chhota Chetan(1998 film)
* A Christmas Carol (2009)
* Circus of Love (1958) Raumfilm-System Zeiss-Ikon - Ps vertical 1.66:1
* Cloudy with a Chance of Meatballs (Sony Pictures Animation 2009)
* College Capers (Lippert 1953) Stereovision - dual 35 mm P
* Come Closer (1952) dual 16 mm
* Comin' at Ya! (US/Spain/Italy 1981) Optimax III - Po 2.35:1
* Composition #4 (1945) 16 mm Ps 1.33:1
* Con la morte alla spalle (Italy/France/Spain 1967) Stereovision 70 - 70 mm Ps anamorphic 2.20:1 - English title: With Death on Your Back
* Coraline (2009) By Henry Selick. Shot in Digital 3D.
* El corazón y la espada (Fox/Azteca, Mexico 1953) Tercera Dimensión Briceno - dual 35 mm - shown A duo-color
* The Coronation of the Queen (UK 1953) Dudley 3-D - Ps vertical P 1.66:1 - alt title: Coronation of Queen Elizabeth
* Creature from the Black Lagoon (Universal 1954) Universal 3-D - dual 35 mm P 1.85:1
* Cyberheidi 3D

[edit] D

* Dangerous Mission (RKO 1954) Future Dimension - dual 35 mm P 1.75:1
* A Day at the Del Mar Fair (US 1987) Western 3-D - Super 8 mm Ps vertical 1.66:1
* A Day in the Country (Lippert 1953), originally Stereo Laffs (1941) - dual 35 mm P or A
* Deni chudeshikh vpechatleniy (Soviet 1949) Stereofilm - Ps 1.37:1
* Denmark Live (Denmark 1974) 35 mm Ps anamorphic 1.33:1
* Deep Sea 3D (2006)
* Delusion 3D (2007)
* Devil's Canyon (RKO 1953) Natural Vision 3-Dimension - dual 35 mm P 1.37:1
* Dial M for Murder (Warner 1954) Warner Vision 3-Dimension - dual 35 mm P 1.85:1
* The Diamond Wizard (UA 1954) Spacemaster 3-D - dual 35 mm, released flat, 1.66:1
* Dimensions in Time (TV)
* Diet Coke (NBC 1989) Nuoptix
* The Dimension of Oldsmobile Quality (General Motors 1981) Future Dimension - StereoVision Po 2.35:1
* Dinosaurs: Giants of Patagonia
* The Disco Dolls in Hot Skin (Debonair 1978) Deep Vision - polybiochromatic A 1.85:1
* Dogs of Hell
* Domo Arigato (1974) Spacevision - Po 2.35:1
* Doom Town (1953) Todd-Dunning 3-D - dual 35 mm P
* Down the Hatch (1953) Natural Vision 3-Dimension - dual 35 mm P
* Dragonfly Squadron (Monogram 1954) Monogram 3-D - dual 35 mm - released flat
* Dragotsenniy podarok (Sovet 1956) Stereofilm - Ps 1.37:1
* Drums of Tahiti (Col 1954) Columbia 3-D - dual 35 mm- P 1.85:1
* Druzok (Soviet 1958) Stereofilm - L 1.37:1 - English title: Pal /Little Friend
* Dumbass 3-D (2009)

[edit] E

* Ecstasy '72/Secrets of Ecstasy '72 (United 1971) Optovision - dual 16 mm - shown in 35 mm Ps anamorphic 1.33:1 - only sequences
* Emmanuelle IV (France 1984) ArriVision & StereoVision - Po 2.35:1
* Encounter in the Third Dimension
* Escape from Beyond (Cannon 1984) Wonder-Vision 3-D Flying Optical Frame - Po 2.35:1side
* Experiments in Love (QuadraVision 1976) QuadraVision 4-D = StereoVision - Ps anamorphic 1.33:1

[edit] F

* Faust (France 1922) dual 35 mm - shown A
* Fei du juan yun shan (Hong Kong 1978) dual Techniscope - shown in Po 2.35:1 - English title: Magnificent Bodyguard
* Film #6 (US 1952) dual 16 mm
* The Final Destination (2009)
* The Flesh and Blood Show (Entertainment 1974) sequence in Spacemaster 3-D - dual 35 mm - shown in A duo-color 1.75:1
* Flesh for Frankenstein (1974) Spacevision - Po 2.35:1 (Marketed as Andy Warhol's Frankenstein /Frankenstein /Andy Warhol's Flesh for Frankenstein)
* Flight to Tangier (Paramount 1953) Technicolor 3-D (as "Dynoptic 3-D) - dual 35 mm P 1.66:1
* Flying At 'Ya, Android Kikaider (1973)
* Flying Carpet (UK 1952) Stereo Techniques - dual 35 mm
* Fly Me to the Moon (2008)
* Forest (1978) Lipton Three-Dimensional Filmmaking System - dual Super 8
* Fort Ti (Columbia 1953) Natural Vision 3-Dimension - dual 35 mm P 1.37:1
* The Fortune Hunters (Japan 1953) dual 35 mm P
* Four-D (1953) Nord 3-D - 16 mm Ps .67:1
* Freddy's Dead: The Final Nightmare
* Foxy Boxing (1983) polybiochromatic A
* The French Line (RKO 1954) Future Dimension - dual 35 mm P 1.66:1
* Friday the 13th Part III (Paramount 1982) 3-Depix - Po 2.35:1
* Funk in 3-D (1976) Super Touch 3-D - Po 2.35:1
* Future Shock 3-D

[edit] G

* Ghostbusters III (2010)
* Ghosts of the Abyss
* Girls: Wet & Wild in 3D
* The Glass Web (Universal 1953) Universal 3-D - dual 35 mm P 2:1
* Gog (UA 1954) Natural Vision 3-Dimension - dual 35 mm - shown in Pola-Lite 3-D Ps vertical 1.66:1
* Gorilla at Large (Fox 1954) Stereoscopic Clear-Vision - dual 35 mm - shown in Pola-Lite 3-D Ps vertical 1.66:1
* Grand Canyon (1923) Parker 3-D - dual 35 mm - shown A
* Gun Fury (Columbia 1953) Columbia 3-D - dual 35 mm 1.85:1

[edit] H

* Hannah Lee: An American Primitive (Realart 1953) Stereo Cine - dual 35 mm P - aka: Outlaw Territory
* Hannah Montana & Miley Cyrus: Best of Both Worlds Concert
* Harry Potter and the Order of the Phoenix (30-minute 3-D finale)
* Harry Potter and the Half-Blood Prince (15-minute 3-D opening)
* Haunted Castle
* Heartbound (1925) Stereoscopic - dual 35 mm - shown A
* Heavy Equipment (1977) 3-Dimensions - A
* Hit the Road Running (1984) Future Dimensions = StereoVision - Po 2.35:1
* Holsum Bread (1953) Bolex Stereo - 16 mm Po .67:1
* Hondo (Warner/Wayne-Fellows 1953) WarnerVision 3-Dimension - dual 35 mm P 1.85:1
* Honey, I Shrunk the Audience
* Horrorween (2008)
* Hot Heir (1984) Future Dimensions = StereoVision - Po 2.35:1
* House of Wax (Warner 1953) Natural Vision 3-Dimension - dual 35 mm P 1.37:1
* How to walk (1983) Bolex Stereo - 16 mm Ps .67:1
* How to Train Your Dragon (2010) To Be Released
* Human Highway (1982) (segments are in 3D)
* Hyperspace (1984) StereoVision - Po 2.35:1
* Hypnotic Hick (Universal 1953) Lantz 3-D - dual 35 mm P 1.85:1

[edit] I

* I the jury (UA 1953) Stereovision - dual 35 mm P 1.75:1
* I was a Burlesque Queen (1953) sequences in dual 35 mm - shown A
* Ice Age: Dawn of the Dinosaurs
* Igor
* Immortel (ad vitam) (2004)
* In the Steppes (Soviet ?1948) L - orig title unknown
* In Tune with Tomorrow (Chrysler/Polaroid/Norling 1939) P
* Indian Summer (1953) Bolex Stereo - 16 mm side-by-suicide .67:1
* Inferno (Fox 1953) Stereoscopic Clear-Vision 3-D - dual 35 mm P 1.37:1
* International Stewardesses (1974) StereoVision - Ps .67:1 - shown in Po 1.75:1
* It Came from Inner Space (1985) Deep Vision - polybiochromatic A 1.85:1
* It Came from Outer Space (Universal 1953) Universal 3-D - dual 35 mm P 1.37:1
* It's Tough to be a Bug!

[edit] J

* Jaws 3-D (Universal 1983) ArriVision & StereoVision - Po 2.35:1
* Jesse James vs. the Daltons (Columbia 1954) Columbia 3-D - dual 35 mm P 1.85:1
* Jim Henson's Muppet*Vision 3D (1991)
* Jivaro (Paramount 1954) Paravision - released flat, 1.85:1
* Journey to the Center of the Earth (2008)
* Jonas Brothers: The 3D Concert Experience (2009)

[edit] K

* Karandash na lidu (Soviet 1948) Stereofilm - L 1.37:1
* Ketto (Japan 1953) Shochiku Natural Vision - Ps 1.33:1
* Kiss Me, Kate (MGM 1953) Metrovision Tri-Dee - dual 35 mm P 1.75:1
* Kontsert (Soviet 1941) Stereofilm - L 1:1
* Kosolapiy drug (Soviet 1959) Stereofilm - Ps 1.37:1
* Krustally (Soviet 1948) Stereofilm - L 1.37:1
* Kuttichathen (India 1984) Stereo-Vision - Po 2.35:1

[edit] L

* Lalim (Soviet) L
* Liebe in Drei Dimensionen (Germany 1974) 70 mm Triarama - anamorphic Ps 2.20:1 - shown in 35 mm Po 2:1
* The Lollipop Girls in Hard Candy (1976) Deep Vision - polybiochromatic A 1.85:1
* London Tribute (UK 1953) Stereo Techniques - dual 35 mm P
* Louisiana Territoty (RKO 1953) Future Dimension - dual 35 mm P 1.37:1
* Lumber Jack Rabbit (Warner 1953) Burton 3-D - dual 35 mm P 1.66:1
* Lunacy ((Pathe/Ives & Leventhal 1925) Stereoscopiks - dual 35 mm - shown A
* Lego Star Wars 4D at (Lego 2010) 4D Ride - dual 35 mm - shown A

[edit] M

* M 3-D the Movie
* The Mad Magician (Columbia 1954) Columbia 3-D - dual 35 mm P 1.85:1
* Magic Journeys (Disney 1982) Disney 3-D - dual 70 mm 2.20:1
* Magic Lamp (India(Malayalam), 1984)
* Magnificent Bodyguards (Hong Kong 1979) dual Techniscope -shown in Po 2.35:1
* Magnificent Desolation: Walking on the Moon 3D
* Man in the Dark (Columbia 1953) Columbia 3-D - dual 35 mm P 1.37:1
* The Man who wasn't there (Paramount 1983) Optimax III - Po 2.35:1
* Manhole (1977) 3-Depix - Po 2:1
* La marca del hombre lobo (Spain 1969) Stereo 70 - 70 mm Ps anamorphic 2.20:1 - shown in 35 mm Po 2:1 - US title: Frankenstein's Bloody Terror
* Mark Twain's America in 3D
* The Man Who Wasn't There (Paramount 1983) Optimax - Po 2.35:1
* Manhole (1977) 3-Depix - Po 2:1
* Mashina 22-12 (Soviet 1949) Stereofilm - L 1.37:1
* The Mask (Warner 1961) Depth Dimension - dual 35 mm - shown A 1.85:1 (dream sequences only)
* Mayskaya nochi (Soviet 1953) Stereofilm - L 1.37:1
* The Maze (AA 1953) Monogram 3-D - dual 35 mm P 1.37:1
* Meet The Robinsons (2007)
* Melody (RKO 1953) Disney 3-D - dual 35 mm P
* Metalstorm: The Destruction of Jared-Syn (Universal 1983) StereoVision & StereoScope - Pu 2.35:1 - shown in 2.50:1
* Metroscopix (1953) Norling-Leventhal & Metroscopix - dual 35 mm - shown A - incl Audioscopiks, The New Audioscopiks and Third Dimensional Murder
* The Milwaukee Braves versus the Chicago Cubs Baseball Game (1953) Bolex Stereo - 16 mm Ps .67:1
* Misadventures in 3D (2003)
* Miss Sadie Thompson (Columbia 1953) Columbia 3-D - dual 35 mm - shown in Nord 3-D - P vertical 1.75:1
* Money from Home (Paramount 1954) Technicolor 3-D - dual 35 mm P 1.66:1
* Monster House (2006)
* Monsters vs. Aliens (2009)
* The Moonlighter (Warner 1953) Natural Vision 3-Dimension - dual 35 mm P 1.66:1
* Movies of the Future (Kelley 1922) Plasticon - dual 35 mm - shown A
* Mud Madness (1983) polybiochromatic A
* My Bloody Valentine 3-D (2009)
* My Home Experiments (2008)
* My Dear Kuttichathan (India(Malayalam), 1984)
* My Dear Kuttichathan 2 (India(Malayalam), 1997)
* Mystic Magic (1982) 3D Video - dual camera - shown polybiochromatic A


[edit] N

* Na zlatom krilitse sideli... (Soviet 1986) Stereo 70 - 70 mm Ps 1.37:1
* Nalim (Soviet 1953) Stereofilm - Ps 1.37:1
* Napoléon (France 1927) dual 35 mm - test footage, not shown
* Nat "King" Cole and Russ Morgan's Orchestra (Universal 1953) Universal 3-D - dual 35 mm P 1.37:1 - alt title: Nat "King" Cole Sings "Pretend"
* Nathan Whitty: The Movie (2007)
* Nature Trail (1986) Powell 3-D - Super 8 Ps vertical 1.33:1
* The Nebraskan (Columbia 1953) Columbia 3-D - dual 35 mm P 1.85:1
* Neobiknovennie etyudi (Soviet 1963) Stereofilm - Ps 1.37:1
* Net i da (Soviet 1968) Stereo 70 - 70 mm Ps 1.37:1
* The New Audioscopiks (MGM 1938) Norling-Leventhal 3-Dimensions - dual 35 mm - shown A
* New Dimensions (Chrysler 1940) Loucks & Norling 3-Dimensions - dual 35 mm, re-issued in 1953 as Motor Rhythm
* New York City (Kelley 1922) Plasticon - dual 35 mm A
* Niagara Falls (Famous 1915) Porter-Waddell 3-D - dual 35 mm - shown A
* Night of the Living Dead 3D (2005)
* Nightmare Before Christmas (2006)
* Niigata (Japan 1982) StereoVision - Ps 2.35:1
* The North and South Chivalry (Hong Kong 1978) dual Techniscope - shown Po 2.35:1
* Northern Towers (UK 1952) Stereo Techniques - dual 35 mm
* Now is the Time (to Put on your Glasses)(Canada/UK 1951) Stereo Techniques - dual 35 mm P
* Nozze vagabonde (Italy, 1936) Stereo SIS - dual 35 mm - shown P

[edit] O

* O Canada (Canada, 1953) dual 35 mm
* O strannostyakh lyubvi (Soviet 1983) Stereo 70 - 70 mm Ps 1.37:1
* On the Ball (UK 1952) Stereo Techniques - dual 35 mm
* Open Season
* Ouch! (Pathe/Ives and Leventhal 1925) Stereoscopiks - dual 35 mm - shown A
* The Owl and the Pussycat (1953) Stereo Techniques - dual 35 mm P

[edit] P

* Packaging... The Third Dimension (1953) Bolex Stereo - 16 mm Ps .67:1
* Pandemic (2010)
* Parad molodisti (Soviet 1948) Stereofilm - Ps 1.37:1
* Paradisio (1962) Tri-Optique - dual 35 mm - shown A (sequences only)
* Parasite (Embassy 1982) StereoVision - Po 2.35:1
* Pardon My Backfire (Columbia 1953) Columbia 3-D - dual 35 mm P 1.85:1
* La pensionnat (France 1981) StereoVision - Po 2.35:1
* Phantom of the Rue Morgue (Warner 1954) Warner Vision 3-Dimension - dual 35 mm P 1.85:1
* Il più comico spettacolo del mondo (Italy, 1954) Tridimensionale Christian - dual 35 mm
* Plan 3-D from Outer Space (1985) Digital 3-D - computer generated Po 2.35:1
* Plasticon (1923) Plasticon - dual 35 mm - shown A
* Plastigrams (Educational/Ives & Leventhal 1922) Plastigram - dual 35 mm - shown A
* Plastische Vorstellung (Germany, 1953) Raumfilm-System Zeiss-Ikon - Ps vertical 1.66:1
* Plastischer Wiesenbummel (1953) Raumfilm-System Zeiss-Ikon - Ps vertical 1.66:1
* The Playmates (1973) Deep Vision - polybiochromatic A 1.85:1
* Pokémon 3: The Movie (2000)[citation needed]
* Pokhishchenie veka (Soviet 1982) Stereo 70 - 70 mm Ps 1.37:1
* The Polar Express (2004) (IMAX 3-D version) 2.00:1 (IMAX) 2.35:1 (conventional)
* Popeye - The Ace of Space (Paramount 1953) Stereotoon - dual 35 mm P 1.85:1
* Power in Perspective (1956) Spacemaster 3-D - dual 35 mm 1.66:1
* The Power of Love (1922) Fairall 3-D - dual 35 mm - shown A
* Precious Gift (Soviet) L
* Prison Girls (AIP 1972) Optovision - dual 16 mm - shown in 35 mm Po 1.75:1

[edit] Q

* Qian dao wan li zhu (Taiwan/Hong Kong 1977) Super Touch 3-D - Po in Real-A-Rama Super 3-D - English title: Dynasty
* Queen Juliana (The Netherlands 1948) VeriVision - Ps vertical 1.33:1

[edit] R

* Radio-Mania (Hammond & Cassidy 1922) Teleview - dual 35 mm - shown with the two images in alternate frame - Alt title: The Man From M.A.R.S. /M.A.R.S.H. /Mars Calling
* Ram Rod (1973) Ps anamorphic 1.33:1
* Raumfilm (Germany 1939) Raumfilm-System Zeiss-Ikon - Ps vertical 1.66:1
* Raznotsvetnie kameshki (Soviet 1960) Stereofilm - Ps 1.37:1
* Real Life Previews (Paramount 1979) Dimension 3 - dual 35 mm - shown A 1.85:1
* Reflections of Horror (1983) Dimension 3 - Po 2.35:1
* Renault (France 1982)StereoVision 70 - 70 mm Ps anamorphic 1.33:1
* El Reportero T.D. (Mexico 1953) Bolex Stereo - 16 mm Ps .67:1
* Rêve d'opium (France 1921) Stereo Parolini - dual 35 mm
* Revenge of the Creature (Universal 1955) Universal 3-D - dual 35 mm - P 2:1
* Ring up the Curtain (UK 1954) Stereo Techniques - dual 35 mm
* Ritmo a tre (Italy 1953) Tridimensionale Christiani - dual 35 mm
* Robinson Kruzo (Soviet 1946) Stereofilm - Ps 1.37:1
* Robot Monster (Astor 1953) Tru-Stereo Three Dimension - dual 35 mm P
* Rock 'n' Roll Hotel (1986) Arrivision & StereoVision - Po 2.35:1
* Rocky Marciano, Champion, vs. Jersey Joe Walcott, Challenger (UA, 1953) Stereo Cine - dual 35 mm P
* Rottweiler (1981) Future Dimensions = StereoVision - Po 2.35:1
* Royal Review (UK 1953) Stereo Techniques - dual 35 mm
* Royal River (UK 1951) Stereo Techniques - dual 35 mm P
* A Runaway Taxi (Pathe/Ives and Leventhal 1925) Stereoscopiks - dual 35 mm - shown A
* Russkie etyudi (Soviet 1969) Stereo 70 - 70 mm Ps 1.37:1

[edit] S

* Samouverenniy karandash (Soviet 1955 and 1976) Stereo 70 - 70 mm Ps 1.37:1
* Sangaree (Paramount 1953) Paravision - dual 35 mm P 1.37:1
* Santa Vs The Snowman
* Scar 3D (2008)
* Scoring! (1984) Deep Vision - polybiochromatic A 1.85:1
* Sea Dream (1978) Spacevision - Po 2.40:1
* Sears Sales (1953) Bolex Stereo - 16 mm Ps .67.1
* Second Chance (RKO 1953) Future Dimension - dual 35 mm P 1.37:1
* Senneville (France 1983) StereoVision - Po 2.35:1
* The Sensorioum (1986) ArriVision - Por 2.35:1
* September Storm (Fox 1960) Natural Vision 3-Dimensional - dual 35 mm P
* Sexcalibur (1983) polybiochromatic A
* The Shape Shifters "Terrorists From Another World"
* Sharks 3-D (IMAX 3D)
* Shi shan nu ni (Hong Kong 1977) Super Touch 3-D - Po 2.35:1 - English title: 13 Nuns (aka Revenge of the Shogun Women)
* The Ship of Souls (1925) Miller Stereoscopic Process - dual 35 mm - shown A
* Shrek 4-D (short)
* Shrek Forever After
* Shutki v storonu (Soviet 1984) Stereo 70 - 70 mm Ps 1.37:1
* Silent Madness (1984) ArriVision - Po 2.35:1
* Silver Lode (RKO 1954) P
* SOS Planet (2002)
* A Solid Explanation (UK 1951) Stereo Techniques - dual 35 mm P
* Solnechniy krai (Soviet 1950) Stereofilm - Ps 1.37:1
* Son of Sinbad (RKO 1953) Future Dimension - dual 35 mm, shown flat, in SuperScope
* Southwest Passage (UA 1954) Natural Vision 3-Dimension - dual 35 mm - shown in Pola-Lite 3-D - Ps vertical 1.66:1
* Space-Attack (Fox 1960) dual 35 mm P
* Space Journey (1985) StereoVision - Po 2.35:1
* Space Patrol (ABC 1953) live telecast with two polarized cameras
* Space Station 3D
* Spacehunter: Adventures in the Forbidden Zone (Columbia 1983) McNabb 3-D - dual 35 mm - shown Po 2.35:1
* Spider-Man 4 (2011)
* SpongeBob SquarePants 4-D
* Spooks (Columbia 1953) Columbia 3-D - dual 35 mm P 1.85:1
* Sportoló fiatalok (Hungary 1953) Plasztikus Film - Po 2:1
* Spring has come to Helsinki (1953) Bolex Stereo - 16 mm Ps .67:1
* Spy Kids 3-D: Game Over (2003)
* Starchaser: The Legend of Orin (1985) Po 2.35:1
* The Starlets (1976) QuadraVision 4-D = StereoVision - Ps anamorphic 1.33:1
* Stereo Film (1952) dual 16 mm
* Stereo hiradó egy (Hungary 1952) Plasztikus Film - Po 2:1
* Stereo hiradó három (Hungary 1954) Plasztikus Film - Po 2:1
* Stereo hiradó kettö (Hungary 1953) Plasztikus Film - Po 2:1
* StereoSpace 70 (UA 1980) StereoSpace 70 - dual 70 mm 2.29:1
* Stereo Techniques (1952) Stereo Techniques - dual 35 mm - incl. Around Is Around, Black Swan, Royal River, Now is the Time (to put on your glasses), A Solid Explanation
* The Stewardesses (1970) StereoVision - Ps anamorphic 1.33:1 - shown in StereoVision 70 - 70 mm Ps 1.33:1
* The Stewardesses, Part III (1987) StereoVision - Ps anamorphic 1.33:1
* The Stewardesses (Remake, 2009)
* The Stranger wore a gun (Columbia 1953) Columbia 3-D - dual 35 mm P 1.85:1
* Summer Island (UK 1953) Stereo Techniques - dual 35 mm
* Sunday in Stereo (1953) Bolex Stereo - 16 mm Ps .67:1
* Sunshine Miners (UK 1951) Stereo Techniques - dual 35 mm
* Super Stars and Stripes (1985) StereoVision 70 - 70 mm side-by-side 1.33:1
* Superman Returns
* Surfer Girls (1978) StereoVision 4-D - Ps anamorphic 1.33:1
* Swingtail (1969) Comovision - polybiochromatic A 1.85:1
* Szines szöttes (Hungary 1954) Plasztikus Film - over-and-under 2:1

[edit] T

* Tobidashita nichiyobi (Japan 1953) P
* Tailor-Made Beauties (Italy 1953) P
* Tainstvenniy monakh (Soviet 1968) Stereo 70 - 70 mm Ps 1.37:1 - English title: The Mysterious Monk
* Tales of the Third Dimension (Owensby 1984) StereoVision - Po 2.35:1
* Taza: Son of Cochise (Universal 1954) Universal 3-D - dual 35 mm - also available in Pola-Lite 3-D - Ps vertical 2:1
* Teleview (Teleview 1921) Teleview - dual 35 mm - shown with the two images in alternate frames - incl M.A.R.S., a shorter version of Radio-Mania
* Téli rege (Hungary 1953) Plasztikus Film - Po 2:1
* El tesoro de las cuatro coronas (Spain/US/Italy 1983) 3-Depix - Po 2.35:1
* Tetsuren (Japan 1985) StereoVision Tenperf 70 - 70 mm double frame Po 2.20:1
* Thanga (India 1985) StereoVision - Po 2.35:1
* Third Dimensional Murder (MGM 1941) Metroscopics - dual 35 mm - shown A
* This is Bolex Stereo (1953) Bolex Stereo - 16 mm Ps .67:1
* This is Progress (General Motors 1953) dual 16 mm
* This is your line (1953) Bolex Stereo - 16 mm Ps .67:1
* Thorndyke, the Cactus Kid (1953) Bolex Stereo - 16 mm Ps .67:1
* Those Redheads from Seattle (Paramount 1953) Paravision - dual 35 mm P 1.66:1
* Three Dimensions of Greta (UK 1953) Spacemaster 3-D - dual 35 mm - shown A (sequences only)
* Thrills for you (1940) Loucks & Norling 3-Dimensions - dual 35 mm
* Through my Window (Lipton 1978) Lipton Three-Dimensional Filmmaking System - dual Super 8
* Tiger Man (1982) Impact 3-D - Po 2.50:1
* Time for Beanie (Gulu/UA 1952) Natural Vision 3-Dimension - dual 35 mm P - prologue to Bwana Devil
* El tirano (Spain 1953) dual 35 mm
* Tobidashita Nichiyobi (Japan 1953) Tovision - dual 35 mm
* Top Banana (UA 1954) Natural Vision 3-Dimension - dual 35 mm 1.66:1
* Torunament of Roses Centennial Parade (Fox TV 1989) delayed image 3-D
* Toy Story & Toy Story 2 Disney Digital 3-D (2009) double feature
* Toy Story 3 Disney Digital 3-D (2010)
* Transformers: Revenge of the Fallen (2009) IMAX 3-D
* Transitions - the first film in 3-D IMAX (1986) dual 70 mm horizontal movement 1.43:1
* T-Rex: Back to the Cretaceous
* Triorama (Rialto 1953) Bolex Stereo - 16 mm Ps .67:1 - alt title: This is Triorama
* Tron
* Un turco napoletano (Italy 1953) Tridiemensionale Christiani - dual 35 mm
* The turning (1989) StereoVision - Po 2.35:1
* Twirlgig (Canada 1952) Stereo Techniques - dual 35 mm
* Two Guys from Tick Ridge (1972) Optovision - dual 16 mm - shown in 35 mm Po 1.75:1

[edit] U

* U2 3D (2007)
* Uchenik lekarya (Soviet 1984) Stereo 70 - 70 mm Ps 1.37:1
* Ulysses (Paramount 1954) Tridimensionale Christiani - dual 35 mm 1.66:1
* Up (2009)

[edit] V

* V alleyakh parka (Soviet 1952) Stereofilm - L 1.37:1
* V stepi (Soviet 1950) Stereofilm - L 1.37:1
* El valor de vivir (Mexico 1954) Tercera Dimensión Briceno - dual 35 mm - shown A
* Vashu lapu, medvedi (Soviet 1969) Stereo 70 - 70 mm L 1.37:1
* Vecher v Moskve (Soviet 1962) Stereo 70 - 70 mm L 1.37:1
* Venus (Goldfarb 1984) StereoVision - Po 2.35:1
* Vexille (2007)[citation needed]
* Vikhodnoy deni v Moskve (Soviet 1940) dual 35 mm - shown A
* Vintage '28 (UK 1953) Stereo Techniques - dual 35 mm
* Volkswagen (Germany 1953) P
* Vsadnik na zolotam kone (Soviet 1982) Stereo 70 - 70 mm Ps 1.37:1 - English title: The Man on the Golden Horse

[edit] W

* Der Wagen und sein Werk (Germany 1953) Raumfilm-System Zeiss-Ikon - Ps vertical 1.66:1
* Washington, D.C., Thru the Trees (Kelley 1923) Plasticon - dual 35 mm - A, demo reel, not shown to audiences.
* Watashi wa nerawarete iru (Japan 1953) Tovision - dual 35 mm P
* Way Down West (1978) Bolex Stereo - 16 mm Ps .67:1
* A Way of Thinking (1954) Ramsdell 3-D - dual 16 mm P
* We are born of Stars (1985) 3D IMAX & 3D OMNIMAX - 70 mm computergenerated A horizontal movement
* Wedges (1978) Lipton Three-Dimensional Filmmaking System - dual Super 8
* Weekend Panorama (1984) Western 3-D - Super 8 Ps vertical 1.66:1
* Der weiße Traum (Germany 1953) Raumfilm-System Zeiss-Ikon - Ps vertical 1.66:1
* The Wild Ride (Monarch 1977) StereoVision & StereoScope - Po 2.35:1
* Wild Safari 3D (2005)
* Wildcat Women (1976) Deep Vision - polybiochromatic A 1.85:1
* Willie Nelson's 2nd Annual 4th of July Picnic (1979) Spacevision - Po 2.35:1
* Wings of Courage (1995)
* Wings of the Hawk (Universal 1953) Universal 3-D - dual 35 mm P 1.37:1
* The Winners (1981) StereoVision - Ps anamorphic 1.33:1
* Wondrous encounters of a magician (China 1962) polybiochromatic A
* Working for Peanuts (RKO 1953) Disney 3-D - dual 35 mm P

[edit] Z

* Zamurovannie v stekle (Soviet 1978) Stereo 70 - 70 mm Ps 1.37:1
* Ziegfeld Midnight Frolic (Paramount 1929) Porter-Waddell 3-D - dual 35 mm - shown A - sequences only
* Zombie 3-D (Italy 1984) ArriVision - Po 2.35:1
* Zombie Chronicles
* Zoo Snapshots (UK 1953) Bolex Stereo - 16 mm Ps .67:1
* Zowie (Pathe/Ives & Leventhal 1925) Stereoscopiks - dual 35 mm - shown A
* Zum greifen nah (Germany 1937) Raumfilm-System Zeiss-Ikon - dual 35 mm P

[edit] See also

* List of computer-animated films
* 3-D film

[edit] External links

* The Illustrated 3D Movie List
* Daily 3D updates
* Stereoscopy.com 3D Movie Database
* 3DMovies.ws 3D Movies

3D Display

3D Display
http://en.wikipedia.org/wiki/3D_display


A 3D display is any display device capable of conveying three-dimensional images to the viewer. The optical principles of multiview auto-stereoscopy have been known for over a century.[1] Practical displays with a high resolution have recently become available at much lower prices. As a result, the commercialization of 3D displays for entertainment is receiving increasing funding.


Types of 3D displays
[edit] Stereoscopic
Main article: Stereoscopy

Based on the principles of stereopsis, described by Sir Charles Wheatstone in the 1830s, stereoscopic technology uses a separate device for each person viewing the scene to provide a different image to the person's left and right eyes. Examples of this technology include anaglyph images and polarized glasses. Stereoscopic technologies generally involve special spectacles.
[edit] Autostereoscopic
Main article: Autostereoscopy

An evolutionary development of stereoscopy, autostereoscopic display technologies use optical trickery at the display, rather than worn by the user, to ensure that each eye sees the appropriate image. They generally allow the user to move their head a certain amount without destroying the illusion of depth. Automultiscopic displays include view-dependent pixels with different intensities and colors based on the viewing angle; this means that a number of different views of the same scene can be seen by moving horizontally around the display. In most automultiscopic displays the change of view is accompanied by the breakdown of the illusion of depth, but some displays exist which can maintain the illusion as the view changes[2].

This category of display technology includes autostereograms.
[edit] Computer-generated holography
Main article: Computer Generated Holography

The hologram is a familiar artifact of the late 20th century, and research into holographic displays has produced devices which are able to create a light field identical to that which would emanate from the original scene, with both horizontal and vertical parallax across a large range of viewing angles. The effect is similar to looking through a window at the scene being reproduced; this may make CGH the most convincing of the 3D display technologies, but as yet the large amounts of calculation required to generate a detailed hologram largely prevent its application outside of the laboratory. Some companies do produce holographic imaging equipment commercially.[3]
[edit] Volumetric displays
Main article: Volumetric display

In addition there are volumetric displays, where some physical mechanism is used to display points of light within a volume. Such displays use voxels instead of pixels. Volumetric displays include multiplanar displays, which have multiple display planes stacked up; and rotating panel displays, where a rotating panel sweeps out a volume.

Other technologies have been developed to project light dots in the air above a device. An infrared laser is focused on the destination in space, generating a small bubble of plasma which emits visible light. As of August 2008, the experiments only allow a rate of 100 dots per second. One of the issues which arise with this filme 3D display system is the use of technologies that could be harmful to human eyes.
[edit] Problems

Each of these display technologies can be seen to have limitations, whether the location of the viewer, cumbersome or unsightly equipment or great cost. Overcoming the latter is perhaps the key challenge for the budding 3-dimensional imaging sector. The acquisition of artifact-free 3D images remains difficult. Photographers, videographers, and professionals in the broadcast and movie industry are unfamiliar with the complex setup required to record 3D images. There are currently no guidelines or standards for multi-camera parameters, placement, and post- production processing, as there are for conventional 2D television.
[edit] See also

* 3D television
* Autostereoscopy
* Computer generated holography
* Holography
* Lenticular printing
* List of emerging technologies
* Stereoscopic Displays and Applications (annual conference)
* Stereoscopy
* Volumetric display
* Integral imaging

[edit] References

1. ^ Okoshi, Three-Dimensional Imaging Techniques, Academic Press, 1976
2. ^ [1] Holografika, continuous autostereoscopic display manufacturer
3. ^ [2] Zebra Imaging, holography solutions provider

[edit] External links

* Plasma projection in air
* Polaris Sensor Technologies, Inc. 3D Displays
* Get Real 3D Displays, no glasses, Get3DDisplay, LLC
* 3D Displays and TV news and resources

3D Television

3D Television
http://en.wikipedia.org/wiki/3D_television


3D Television employs some technique of 3D presentation, such as stereoscopic capture, multi-view capture, or 2D plus depth, and a 3D display - a special viewing device to project a television program into a realistic three-dimensional field.

Occasional 3D episodes became moderately popular in the late 1990s when several shows used the technique to attract viewers and increase ratings.


History

3D imaging dates to the beginning of photography. In 1844, David Brewster introduced the Stereoscope, a device that could take photographic pictures in 3D. It was then improved by Louis Jules Duboscq and a famous picture of Queen Victoria was displayed at The Great Exhibition in 1851. By the Second World War, stereoscopic (3D) cameras for personal use were already fairly common.

3D movie development was parallel to that of 3D pictures and images. Already in 1855 the Kinematoscope was invented, ie the Stereo Animation Camera. The first anaglyph movie was produced in 1915 and in 1922 the first public 3D movie was displayed - The Power of Love. In 1935 the first 3D color movie was produced.

In the fifties, when TV became popular in the United States, many 3D movies were produced. The first such movie was Bwana Devil from United Artists that could be seen all across the US in 1952. One year later, in 1953, came the 3D movie House of Wax which also featured 2D sound. Alfred Hitchcock originally made his film Dial M for Murder in 3D, but for the purpose of maximizing profits the movie was released in 2D because not all cinemas were able to display 3D films. The Soviet Union also developed 3D films, with Robinson Crusoe being their first full-length movie in 1947.[citation needed]

Subsequently, television stations started airing 3D serials based on the same technology as 3D movies.

Recently the British Sky Broadcasting company, better known as Sky UK, has announced that they will be launching a Sky 3D channel in 2010. This will bring content such as sports, entertainment events, and other three-dimensional programming to its subscribers. The system will require a special "3D ready" television and Sky+HD DVR box.

On 1st January 2010, the world's first 3D channel, SKY 3D, started broadcasting nationwide in South Korea by Korea Digital Satellite Broadcasting. The channel's slogan is "World No.1 3D Channel". This 24/7 channel uses the Side by Side technology at a resolution of 1920x1080i. 3D contents include education, animation, sport, documentary and performances.[1]


Technologies
Merge-arrows.svg
It has been suggested that this article or section be merged with 3D display. (Discuss)
See also: Stereoscopy, 3D display, 3-D film, and List of emerging technologies

There are several techniques to produce and display 3D moving pictures.

Common 3D display technology for projecting stereoscopic image pairs to the viewer include:

* Anaglyphic 3D (with passive red-cyan glasses)
* Polarization 3D (with passive polarized glasses)
* Alternate-frame sequencing (with active shutter glasses/headgear)
* Autostereoscopic displays (without glasses/headgear)

Single-view displays project only one stereo pair at a time. Multi-view displays either use head-tracking to change the view depending of the viewing angle, or simultaneously project multiple independent views of a scene for multiple viewers (automultiscopic); such multiple views can be created on-the-fly using the 2D plus depth format.

Various other display techniques have been described, such as holography, volumetric display and the Pulfrich effect, that was used by Doctor Who for Dimensions in Time in 1993, by 3rd Rock From The Sun in 1997, and by the Discovery Channel's Shark Week in 2000, among others. Real-Time 3D TV (Youtube video) is essentially a form of autostereoscopic display.

Stereoscopy is most widely accepted method for capturing and delivering 3D video. It involves capturing stereo pairs in a two-view setup, with cameras mounted side by side, separated by the same distance as between a person's pupils. Convincing scene depth effects can only be achieved with exactly the same viewing screen size and distance as intended at the moment of capture/rendering, or the projected image will have impossible separation and convergence angles, especially for close-up objects.[2]

Multi-view capture uses arrays of many cameras to capture a 3D scene through multiple independent video streams. Plenoptic cameras, which capture the light field of a scene, can also be used to capture multiple views with a single main lens[3]. Depending on the camera setup, the resulting views can either be displayed on multi-view displays, or passed for further image processing.

After capture, stereo or multi-view image data can be processed to extract 2D plus depth information for each view, effectively creating a device-independent representation of the original 3D scene. This data can be used to aid inter-view image compression or to generate stereoscopic pairs for multiple different view angles and screen sizes.

2D plus depth processing can be used to recreate 3D scenes even from a single view and convert legacy film and video material to a 3D look, though a convincing effect is harder to achieve and the resulting image will likely look like a cardboard miniature.


3D Ready TV sets

3D Ready TV sets are those TV sets that can also operate in 3D mode, in conjunction with LCD shutter glasses, where the TV tell the glasses which eye should see the image being exhibited at the moment, creating a stereoscopic image. These TV sets usually support HDMI 1.4 and a minimum (input and output) refresh rate of 120Hz.

Mitsubishi and Samsung utilize DLP technology from Texas Instruments.[4]


Standardization efforts

With the recent improvements in digital technology, the concept of delivering 3D content to the masses is being seen as a legitimate business model. It is true that, as of December 2008, there are already some theaters offering 3D movies taking advantage of technologies such as TI’s DLP, but now companies clearly see that there is a market for delivering 3D video to the home, especially because there is a technological basis for claiming that today's 3D movies are more than just a gimmick.

Content providers, such as Disney, DreamWorks, and other Hollywood studios, and technology developers, such as Philips, asked SMPTE for the development of a 3DTV standard in order to avoid a battle of formats and to guarantee consumers that they will be able to view the 3D content they purchase and to provide them with 3D home solutions for all pockets.

There are several techniques for Stereoscopic Video Coding, and stereoscopic distribution formatting including anaglyph, quincunx, and 2D plus Delta.

In August 2008, SMPTE established a task force to define the parameters of a stereoscopic 3D mastering standard for content viewed in the home. Called the 3-D Home Display Formats Task Force, it aims to move the 3D home entertainment industry forward by setting the stage for a standard that will enable 3D feature films and other programming to be played on all fixed devices in the home, no matter the delivery channel. It explored the standards that need to be set for 3D content distributed via broadcast, cable, satellite, packaged media, and the Internet to be played-out on televisions, computer screens and other tethered displays. After six months, the committee would produce a report to define the issues and challenges, minimum standards, evaluation criteria, etc which the Society said would serve as a working document for SMPTE 3D standards efforts to follow. A follow-on effort to draft a standard for 3D content formats was expected to take another 18 to 30 months.

Production studios are developing an increasing number of 3D titles for the cinema and as many as a dozen companies are actively working on the core technology behind the product. Many have technologies available to demo, but no clear road forward for a mainstream offering has emerged.

Under these circumstances, SMPTE’s inaugural meeting was essentially a call for proposals for 3D television; more than 160 people from 80 companies signed up for this first meeting. Vendors that presented their respective technologies at the task force meeting included Sensio [1], Philips, Dynamic Digital Depth (DDD), TDVision [2], and Real D, all of which had 3D distribution technologies.

However, SMPTE is not the only standard group starting the 3DTV standardization trip. Other organizations such as the Consumer Electronics Association (CEA), 3D@home Consortium, ITU and the Entertainment Technology Center at USC's School of Cinematic Arts (ETC), have created their own investigation groups and have already offered to collaborate to reach a common solution.

Other standard groups such as DVB, BDA, ARIB, ATSC, DVD Forum, IEC and others are to be involved in the process.

MPEG has been researching multi-view, stereoscopic, and 2D plus depth 3D video coding since the mid-2000s; the first result of this research is the Multiview Video Coding extension for MPEG-4 AVC that is currently undergoing standardization.

HDMI version 1.4, released in June 2009, defines a number of 3D transmission formats. One, "Frame Packing" (Left and right image packed into one video frame with twice the normal bandwidth), is mandatory for HDMI 1.4 3D devices.[citation needed]


Broadcasts

As of 2008, 3D programming is broadcast on Japanese cable channel BS 11 approximately four times per day.[5]


3D episodes

There have been several notable examples in television where 3D episodes have been produced, typically as one hour specials or special events. Perhaps the best example of groundbreaking 3D production on television was the sitcom 3rd Rock From The Sun, which peaked in international popularity when it produced the two-part episode, Nightmare On Dick Street, where several of the characters' dreams are shown in 3D. The episode cued its viewers to put on their 3D glasses by including "3D on" and "3D off" icons in the corner of the screen as a way to alert them as to when the 3D sequences would start and finish. The episode is considered by some to be the show's magnum opus as it combined clever uses of metaphor with the character comedy and light moments of drama. It perhaps remains one of the show's most popular and memorable episodes.

Recent uses of 3D in television include the drama Medium and the comedy Chuck.

Channel 4 in the UK ran a short season of 3D programming in November 2009 including Derren Brown and The Queen in 3D.[6]


Involved Companies

Many of the industry's technology leaders are developing televisions that will be able to broadcast the three-dimensional programming as soon as it's available. Sony has plans to release 3D-compatible televisions in its Bravia range, and hopes that other products such as Vaio laptops, Playstation 3 games, and Blu-ray players will also support three-dimensional content in the future.

Panasonic has taken it one step further and developed the world's first 3D full HD Plasma Theater System. This includes a 103-inch plasma television and a Blu-ray disc player, distributing full high definition images to both the left and right eye. The system was unveiled at CEATEC Japan 2008, a comprehensive IT and Electronics exhibition.

Other companies, such as Phillips, LG, and Hyundai, are also developing 3D televisions that will be available soon. Philips is developing 3D television sets available for the consumer market by about 2011 without the need for special glasses.[7]


References

1. ^ http://www.skylife.co.kr/skylife/center/news_view.jsp?no=2417
2. ^ Kenneth Wittlief (2007-07-30). "Stereoscopic 3D Film and Animation - Getting It Right". ACM SIGGRAPH. http://www.siggraph.org/publications/newsletter/volume/stereoscopic-3d-film-and-animationgetting-it-right. Retrieved 2009-03-30.
3. ^ http://ieeexplore.ieee.org/xpl/freeabs_all.jsp?arnumber=4547873 A Simulator for the Cafadis Real Time 3DTV Camera, IEEE (2008-06-20)
4. ^ "3D TV - DLP HDTV". http://www.dlp.com/hdtv/3-d_dlp_hdtv.aspx. Retrieved 26 December 2009.
5. ^ http://insidetech.monster.com/news/articles/2364-hyundai-offers-3d-tv-for-japan-market-only Hyundai Offers 3D TV for Japan Market Only (2008-06-18)
6. ^ Channel 4 plans 3D shows, The Queen, Derren Brown - macworld.co.uk
7. ^ Martin, Nicole (May 30, 2008). "3D television without the special glasses". Telegraph Media Group. http://www.telegraph.co.uk/news/uknews/2054047/3D-television-without-the-special-glasses.html. Retrieved 2009-12-18.

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