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Fig. 1. Westrex Photomagnetic Recorder.
entertainment seemed to be divided into two camps — those favoring the widescreen panoramic-vision type of presentation as typified by Cinerama and those favoring three-dimensional pictures requiring the use of Polaroid viewers for true stereoscopic effect. The Twentieth Century-Fox Studios widely publicized their CinemaScope type of production in which a wide field of vision is accomplished in the camera by means of an auxiliary shooting lens designed to compress the angle of view in the horizontal plane, and this in turn is expanded by an auxiliary lens system in projection. The first production to be shot by this company with this system is to be The Robe, which will also be accompanied by stereophonic sound.
With the emergence of the modern 3-D film into general commercial circulation, rapid strides were made in England toward perfecting its techniques of production and exhibition. The leading role was played by Stereo Techniques, Ltd., staffed by the personnel who had
devised the 3-D film program for the Festival of Britain.3 During the year, this company leased its films for commercial showing in Great Britain, France, Germany, Holland, Belgium, Sweden and Denmark, thus gaining invaluable knowledge of audience reaction and projection techniques.4-5 Special synchronizing gear was also developed by this company for apprising the projectionist of errors of synchronism between the two bands of film, and enabling him to correct them without stopping the machines. With the rapid growth of 3-D production, new camera designs were embarked on, based on an extended analysis of stereoscopic transmission theory.6 Progress was also made during the year by H. Dewhurst, A.R.C.S., on a single film system with left and right images rotated through 90° by mirrors or prisms,7 as in the prewar Zeiss Ikon system. L. Dudley also claimed advances both in single-film stereo and lenticular projection, but without disclosing details.
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May 1953 Journal of the SMPTE Vol. 60