American cinematographer (Jan-Dec 1952)

colors as the colors on the screen. Redorange for the right eye filter and binegreen for the left are often used. The right-eye red-orange filter in the viewing spectacle renders the blue-green righteye image in monochrome and the lefteye blue-green filter renders the redorange left-eye image also in mono¬ chrome. Since dyes and pigments hardly ever are capable of transmitting only the color they are supposed to transmit, there is rarely a complete “cutting” of one color: some of it always comes through so that part of the blue-green image which is supposed to be blocked by the blue-green spectacle filter leaks through, producing a “ghost' image. So, in reality, the one eye sees a part of the image intended for the other; the “part, of course, being defined as a very dim, but still discernible remnant of the whole “other-eye” image. Good picture quality has never char¬ acterized the colored anaglyph. This and other shortcomings make it eligible for discard as a practical system for motion picture features. Since the introduction of Polaroid light-polarizing filters it is possible and practical to substitute these for the red and green filters of the original anaglyph process. Strictly speaking, the polarized light method may be defined as another form of the anaglyph. Actually, Pola¬ roid Stereoscopy would be a good name for it. It was Dr. Edwin H. Land, head of Polaroid Corp., and his invention of the first practical and efficient synthetic polarizer which hastened the increasingly widespread use of the present satisfactory methods of stereoscopic projection. The first large-scale public exhibition of a stereoscopic motion picture with ex¬ cellent picture quality took place in 1939 at the New York World’s Fair. That year a black-and-white film was shown. The following year a similar subject was exhibited in Technicolor. More than five million people saw these films,* and they’re still talking about them. Some of the production and exhibition prob¬ lems posed by there pictures are inter¬ esting to consider. The camera assembly for the blackand-white picture consists of two Bell and Howell professional 35mm cameras mounted so that one was “upside down in relation to the other. This was done so that the lenses could be brought close together. Even with this arrangement, the interaxial was not ideal. It was fixed at 314 inches, although calculations showed that some scenes actually required as close as 11/2 inch interaxials. But no such camera was available then, nor was there time to have one built. However, a com * Produced by the writer. (TV or CAMERA DOLLY) Hydraulic lift type for fast upward and downward motion of TV and Motion Picture cameras. Light weight — sturdy — easily transported in a station wagon. Fits through a 28" door. Adjustable leveling head. In-line wheels for track use. Steering wheel and floor locks. For Instant Movability and Advanced Design "HYDROLLY” ■ PRECISION -ACCURATE "SYNCHRONIZER” 16mm or 35mm IMMEDIATE DELIVERY! Any combination of sprockets assembled to your specifications. Sturdy cast aluminum construction. Foot linear type, with frame divisions engraved on sprockets. Contact rollers adjusted individually for positive film contact. Fast finger-tip roller release, sprocket shaft slip lock, complete with footage counter. 1 1 5 V. Universal Motor — AC-DC Variable Speed 8-64 Frames Separate Base for Cine Special Adapter for Maurer Camera Interchangeable Motors: 12 Volt DC variable Speed 8-64 Frames. 1 15 Volt AC 60 Cycle, Synchronous Motor, Single Phase Animation Motors: Cine Special, Maurer, B W H , Mitchell. Motors for Bolex and Filmo Cameras. Time Lapse Equipment . • Lens Coating • “T” Stop Calibration • Designing and Manufacturing lens mountings and camera equipment for 16mm and 35mm cameras. • Bausch & Lomb “Baltar” Lenses and others for Motion Picture and TV Cameras. • Rentals — Sales — Repairs: Mitchell, Eyemo, Bell & Howell, Wall, Cine Special Cameras. W rite for information and prices VARIABLE SPEED MOTOR with TACHOMETER for Cine Special or Maurer Cameras N1T10NAL CINE EQUIPMENT, Inc. 20 W. 22nd St., N.Y.C. Fkbruary, 1952 American Cinematographer 79