American cinematographer (Jan-Dec 1952)

Stereoscopic Motion Pictures Periodically, some powerful new inno¬ vation develops to change the course and fortune of Hollywood motion pic¬ tures. Will stereo become the next major change in entertainment films? By J . A. NORLING NEVER BEFORE has the subject of stereoscopic motion pictures received such serious attention as is presently in evidence, both here and abroad. Stereo movies are freely predicted as the next big develop¬ ment in motion picture entertainment. The major problem yet to be hurdled seems to be how to simplify their presentation in existing theatres and in such a manner as to gain general public acceptance. Beginning on this page is the first of a two-part comprehensive sum¬ mary of the present status of stereo movies by a man who has pioneered in their development and who is considered an outstanding authority on the art — Mr. J. A. Norling. president of Loucks & Norling Studios, Inc., New York City. The study appeared in a recent issue of Inter¬ national Projectionist, and is reprinted here by permission. Else¬ where in this issue will be found an article dealing with a new applica¬ tion of stereo to 16mm home movies. — editor REAR VIEW of the Norling camera showing "racked-over" position for lining up a scene through the binocular viewfinder. Camera contains built-in spirit level and footage counter. FRONT VIEW of the Norling three-dimensional motion picture camera, showing variable inter-axial optical system in front of the two lenses. This stereoscopic camera records images on two separate negatives, permits use of short-focus lenses. That the motion picture industry could use something to combat television’s capture of more and more of the theatre audience is undeniable. Stereo movies might well induce people to return to their former favorite amusement. But the return is likely to come about in the mass only if the him theatre gives them something they can't get on a 17inch TV tube, namely the ultimate in photographic realism, the stereoscopic movie in full color, with all dramatic possi¬ bilities that are only waiting to be appreciated. The enthusiastic public reception given some earlier stereo movies and the dollar profits from these movies are a matter of record. Newer, better stereo techniques are now available, and the reason for introducing them was never more pressing. Will the motion picture industry take action? One of the early and noteworthy theatrical exhibitions of stereoscopic motion pictures occurred in 1924, when J. F. Leventhal produced a few “shorts” utilizing the anaglyph process. There followed an eleven-year lull in the use of stereo¬ scopic films. Then in 1935, Loucks & Norling Studios and Mr. Leventhal jointly produced a series of short films again employing the anaglyph principle, this time in talking picture form. These films, which were called “Audioscopiks,” were released by Loews, Inc. and proved to be some of the most successful short subjects ever issued, winning not only domestic accep¬ tance but an unprecedented play in the foreign field, notablv in France, Spain and Great Britain. That their success should have indicated further pursuit of the anaglyph process seems logical. But the producers had, from the beginning, realized the inherent limitations of the process and concluded that films exhibited by that process would only be adequate as novelties and would never be tolerated for full-length feature releases. This conclusion was arrived at by a recognition of the visual “insult" resulting from the projection of one color to one eye and its complementary to the other. This sort of delivery of images, one color to one eye, another to its mate, produces “retinal rivalry” and brings on physiological dis (Continued on Page 78) 66 A M ERICAN ( '.I N EMATOGRAPH ER February, 1952