Further information: stereoscopy
In film, the term 3-D (or 3D or S3D ) is used to describe any visual presentation system that attempts to maintain or recreate moving images of the third dimension, the illusion of depth as seen by the viewer.
The technique usually involves filming two images simultaneously, with two cameras positioned side by side, generally facing each other and filming at a 90 degree angle via mirrors, in perfect synchronization and with identical technical characteristics. When viewed in such a way that each eye sees its photographed counterpart, the viewer's visual cortex will interpret the pair of images as a single three-dimensional image. Modern computer technology also allows for the production of pseudo-3D films using CGI and without the need for dual cameras. The term " 3-D computer gaming " refers to an altogether different technology and effect.
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. During the early "Golden Era" of 3-D cinematography of the 1950s the anaglyph system was the most popular in American theaters. In the 21st century, polarization 3-D systems have begun to supersede the older anaglyph 3-D system, both inside of, and outside of the US. 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, until recently, the most popular method of presenting 3-D and the one 3-D method most commonly associated with stereoscopy by the public at large. They were made popular both because of the ease of their production, and also due to the fact that this technology was the first 3-D technology widely adopted by the Hollywood film industry.
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.
Most recently, the anaglyph 3-D system has been superseded in popularity by the polarization 3-D system . The polarization system has been found to generally appear more life-like, and to also be more easily viewed with less eye-strain over longer periods of time.
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.
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, using the concept of alternate-frame sequencing.
this is the method used by XpanD
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 perpendicular to the screen.
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.
Pseudo-stereoscopic systems
Furthermore, alternative systems, such as Pulfrich effect and Chromadepth exist, but fall under the realm of "pseudo-stereoscopic" in that two, separate records are not recorded or projected.
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.
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 one eye views one frame while the other eye sees nothing). 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. See RealD as examples of methods which use electronically driven circular polarizers that alternate between left and right-handedness, and does so in sync with the left or right image being displayed by the digital cinema projector.
Due to recent advances in polarization related technologies, polarization 3-D systems are rapidly becoming the most popular 3-D systems for movies in the 21st century.
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.
Frederick Eugene Ives patented his stereo camera rig in 1900. The camera had two lenses coupled together 1 3/4 inches apart.
On June 10 , 1915 , Edwin S. Porter and William E. Waddell presented tests to an audience at the Astor Theater in New York City. In red-green anaglyph, the audience was presented three reels of tests, which included rural scenes, test shots of Marie Doro, a segment of John Mason playing a number of passages from Jim the Penman (a film released by Famous Players-Lasky that year, but not in 3-D), Oriental dancers, and a reel of footage of Niagara Falls. However, according to Adolph Zukor in his 1953 autobiography The Public Is Never Wrong: My 50 Years in the Motion Picture Industry , nothing was produced in this process after these tests.
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 . The camera rig was a product of the film's producer, Harry K. Fairall, and cinematographer Robert F. Elder. It was
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