3-Dimensional Film: Refurbishing and Old Concept
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Transcript of 3-Dimensional Film: Refurbishing and Old Concept
3-Dimensional Film: Refurbishing an Old Concept
Melanie Burliss, Craig Campbell and Jaimie Rao JCM 495A; Vic Costello
April 2, 2009
Since the first picture was ever taken, the film industry has been constantly
redefining itself. Answering the demand of audiences and attempting to maintain the
competitive edge that keeps the film industry an incredibly lucrative business, cinema has
moved from still photos to motion pictures, from silent films to sound, black and white to
color, standard to high definition, and finally, from two-dimensional film to 3-D. While
the history of three-dimensional motion pictures is dim, recent technological
advancements and industry trends demonstrate that 3-D cinema may truly be the next
great idea for keeping audiences away from home.
In film, the term 3-D is used to describe any visual presentation system that
attempts recreate and maintain moving images of the third dimension as well as the
illusion of depth as seen by the viewer. Today, this phenomenon that is said to be “the
greatest step forward in history of entertainment,” is a prime attraction to get viewers
back into theatres. Nevertheless, the history of stereoscopic motion pictures, which
describes how an audience uses both eyes each with a slightly different perspective to
create depth, goes beyond modern strategy and is a long one wrought with trial and error
(Flemming, 2008).
The concept of 3-D imaging began its era in the late 1890s when a British film
pioneer, William Friese-Greene, put together two identical films that were projected
together side by side on the screen. The viewer had to look through a machine called a
stereoscope to be able to see a result, however his plan to popularize the stereoscope
failed due to complexity and garish mechanics behind this method. Progress was made in
1915 when Edwin S. Porter and William E. Waddell presented an audience with three test
shots that where conducted in red-green anaglyph, however nothing was produced in the
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process of these tests. It was not until September 27, 1922 when producer Harry Fairall
and cinematographer Robert Elder finally generated the first shown 3-D film to a paying
audience (Handy, 2008). From then on 3-D has progressively improved in accordance
with desirability for the modern technology.
The rise of the 3-D did not last long, the first decline of the theatrical 3-D craze
started in the late summer and early fall of 1953. This was due to a complicated process
of projecting two prints simultaneously. Furthermore, both prints had to remain exactly
the same after film repair or else synchronization would be lost (Palmer, 2004). Despite
these complications, however, recent technology is bringing 3-D experiences out of 1950
horror films and becoming a popular demand for the entertainment industry. Many of the
latest films in movie theatres today are produced in the third dimension.
In an article that discusses the emergence of modern 3-D equipment, author Cam
Shea writes that “most people in their mid-20s or later think of 3-D movies from the old
school perspective—goofy red and blue colored glasses, strained eyes and impossible
migraines” (Shea, 2007). In several ways and for several reasons, the old school films
did fail at being more than an amusement park gimmick. In understanding the way 3-D
technology functions, the past failures and contemporary success of the new, quickly
rising cinematic experience are more easily comprehendible.
Shooting in 3-D means a cinematographer is creating images more similar to the
normal human eye process. With two eyes individually capturing an image and then
interlacing that image, a person gains depth. When a person only has one eye open,
depth perception is lost. In the same way, normal film production is created with only
“one eye” because it uses only one camera. With 3-D shooting, two cameras are used
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side by side to mimic the position of human eyes (Schiffman, 2008). While the images
are practically identical when they stand alone, they are alternately projected in two
frames: one frame for the right eye and one frame for the left eye to create the
stereoscopic effect discussed earlier (Schiffman, 2008). Creating this effect relies on
either one’s right or one’s left eye being blocked while the other eye is viewing the
image. Previously, the use of linearly polarized glasses (the infamous red and blue
spectacles) facilitated the constant blocking of each individual eye. This form of
polarization is what caused the migraines (3D Glasses, 2009). Firstly, because neither the
left nor the right side of the glasses sufficiently blocked the images from reaching the eye
thus slightly confusing the brain; and secondly, if the viewer tilted his head in any
direction besides straight on, the image would be blurred and frustrating for the eyes to
process (3D Glasses, 2009). As a result of recent technology however, not only are the
headaches a pain of the past, but overall image quality and consistency is a guarantee.
Although the overall concept of using two cameras to shoot 3-D perception is
obviously necessary and still followed, projection of these images in theaters have
changed dramatically. If today’s theaters want to show a movie in 3-D today, they are
required to have a digital projector (3D Adds, 2008). A major issue with projecting 3-D
in the past is that the film (which was projected in two projectors) was often misaligned
and changed in repair after each show. Without flawless synchronization of both
projectors, the mind has a difficult time deciphering the images. Now, digital projectors
allow for theaters to only need one projector to show 3-D because a new adaption called a
Z-Screen is placed in front of the projector lens (Ankeney, 2009). A Z-Screen is a
“special liquid crystal modulator that polarizes the light in opposite circular states” (Shea,
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2007). The new type of glasses is polarized with opposite circularization so that an
image that are projected with left circular polarization are blocked by the right circular
polarized lens on the glasses. As a result, the audience can move their heads around
without losing the image and without getting a headache.
In addition to being able to relax ones neck while watching a film, audiences now
receive much crisper 3-D images. High definition three-dimensional film is projected at
144 frames per second (fps) (Schiffman, 2008). A better way to think of 144fps is to
remember that there are both right eye and the left eye images that are alternated so
projection is really 72fps per image. By using what is called a triple flash technique
(showing each frame three times consecutively), the flickering, 3-D images audiences are
expecting are smooth, clear and disturbingly life-like (Schiffman, 2008). These visually
stimulating, far-from-gimmicky, entrancing films are what is bringing 3-D back into the
movie industry.
Revamping many different aspects of the entertainment industry, 3-D technology
has breached the gap into gaming, television, and film. We see high definition 3-D in the
Xbox 360 gaming system and 3-D commercials were aired during Super Bowl XLIII,
however, we will see the biggest boom of 3-D coming in the near future within the film
industry. With the success of 3-D technology in film, it is predicted that the consumer
will eventually adapt to using this technology in their homes.
As the use of 3-D technology increases in the film industry, more moviegoers are
intrigued by new 3-D films, which eventually will lead 3-D into the homes of millions of
Americans. The animated film, Chicken Little, was released in 2005, entirely in 3-D.
Since then, Hollywood’s interest in this three dimensional technology has increased
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significantly (Khatau, 2008). Although this fact was not well known by the public, the
recent Hannah Montana & Miley Cyrus: Best of Both Worlds Concert Tour as well as the
animated film Kung Fu Panda by DreamWorks were both created in 3-D. After the dull
roar of these films, 3-D has been utilized and advertised much more with productions
such as My Bloody Valentine, Coraline, and The Jonas Brothers: 3-D Concert
Experience. “…Most proponents think the living room is the eventual endgame for 3-D
fare…but you have to start with theatrical and closed-circuit distribution” (Dickson,
2008). All of these films brought the idea of the new 3-D technology to the forefront of
moviegoers’ minds. By introducing the theatrical benefits of 3-D to the consumer through
various films, they would be more interested in bringing it into their homes.
Various electronic companies including Samsung and Mitsubishi have been
providing 3-D capable television units for the past few years. This is a significant
stepping-stone to bringing 3-D into American homes (Dickson, 2008). 3-D technology is
changing the idea of home entertainment. With a 3-D home entertainment system
viewers would be able to watch programming with or without glasses. This aspect and
opportunity makes the home 3-D technology more inviting to the consumer
(Higginbotham, 2008).
Although the red and blue glasses are strong memories for the majority of theater
going audiences today, new technologies and a seemingly firm resolve among industry
leaders, such as Disney, Pixar and Dreamworks, will re-convince viewers of the
magnificence of 3-D film and animation. This time, the 3-D aspect promises to be more
epic with 2009 titles from directors such as James Cameron and Steven Spielberg. Pixar
and DreamWorks also promise to produce most, if not all, of its animated films with 3-D
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technology (Siegler, 2008). When the 3-D film Beowulf premiered in November of 2007,
the 3-D digital cinema system was available in 12 countries on 75 screens, that number
has grown since then and is predicted to continue to grow tremendously in 2009 (Dolby,
2007). With several successful 3-D feature films, this growth and commercial use is
driving the demand for 3-D HD-TV in homes (Grotticelli, 2008). With the future of
cinema in 3-D and the introduction of 3-D television, you can bet that the 3-D commodity
will be a staple item in the American home in the near future.
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Works Cited
Ankeney, Jay (2009, February 1). 3D Displays. Sound and Video Contractor.
Dickson, Glen (2008, December 22). 3D HD gains momentum; Sony, Fox detail
plans for college BCS game. Broadcasting & Cable, Retrieved March 10, 2009.
Dolby 3D Digital Cinema Extends Reach in Theatres Worldwide. (2007, November, 24).
Wireless News.
Fleming, M (2008, April 4). Film & Music: Off the wall: A brief history of 3D. Daily
Variety, Retrieved March 28, 2009, from
https://www.lexisnexis.com/us/lnacademic/results/docview/docview.do?docLinkI
nd=true&risb=21_T6205430923&format=GNBFI&sort=RELEVANCE&startDo
cNo=26&resultsUrlKey=29_T6205426214&cisb=22_T6205430933&treeMax=tr
ue&treeWidth=0&csi=140595&docNo=31
Grotticelli, Michael (2008, August 26). Cinema Success Drives 3D Technology
for HDTV. HD/Studio, Retrieved March 31, 2009
Handy, B (2008, November, 23). How 3-D Lost Its Wow. Daily Variety, Retrieved
March 28, 2009, from
https://www.lexisnexis.com/us/lnacademic/results/docview/docview.do?docLinkI
nd=true&risb=21_T6205208128&format=GNBFI&sort=RELEVANCE&startDo
cNo=1&resultsUrlKey=29_T6205174003&cisb=22_T6205208133&treeMax=tru
e&treeWidth=0&selRCNodeID=2&nodeStateId=411en_US,1&docsInCategory=
33&csi=140595&docNo=16
Hawkins, R (1953). Perspective on 3-D. The Quarterly of Film and Television, 7,
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Retrieved March 4, 2009, from http://www.jstor.org/stable/1210004?&
Search=yes&term=History &term=movies &term=3D&list.
Heineman, Rick (2008). Real D, Retrieved March 8, 2009, from www.reald.com.
Higginbotham, Stacey (2008, August 22). Why 3-D TV technology is all hype.
Gigaom, Retrieved March 10, 2009, from http://gigaom.com/2008/08/22/why-3-
d-tv-technology-is-all-hype/
How Do 3D Glasses Work? AudioVisual Magazine. (2009, March 10)
Palmer, G (2004). 3D Filmography. Film History, 16, Retrieved March 5, 2009,
from http://www.jstor.org/stable/3815537?&Search=yes&term=history&
Schiffman, Betsy (2008). Movie Industry Doubles Down on 3-D. Wired.com, Retrieved
March 4, 2009, from
http://www.wired.com/techbiz/media/news/2008/04/3d_movies
Shea, Cam (2007). Real D: The future of cinema. Ign.com, Retrieved March 5, 2009,
from http://movies.ign.com/articles/784/784033p1.html.
Siegler, MG (2008, August 20). IDF: Katzenberg shows the future of 3D film.
VentureBear, Digital Media, Retrieved March 10, 2009, from
http://venturebeat.com/2008/08/20/idf-katzenberg-shows-the-future-of-3d-film/
3D Adds New A-V Dimension. AudioVisual Magazine. (2008, May 2)