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)