Theatre Catalog (1954-55)

Single Strip 3-D An Examination of Two of the Leading Methods of Obtaining Three-Dimensional Pictures on a Single Strip of 35mm Film In 1953 three dimensional motion pictures roared upon the scene with the excitement of a fireworks display at a Chinese New Year’s celebration; and seemed to fade with the same suddeness. One of the major objections to 3-D films was the necessity of using two projectors, with interlocking devices, 5000 foot reels, and clumsy intermissions. In addition, it was found that even with the best equipment, it was almost impossible to keep the two projectors in perfect alignment. BRIEF: Although 3-D had a tremendous initial success tiwwo years ago ... when it was reintroduced to the public ... the problems inherent in the need for two interlocked projectors in order to show 3-D ... quickly drained off much of the enthusiasm on the part of the public ... which had to put up with eye-strain . . . dim screen images . .. and intermissions . . . Exhibitors who had to use special reels . extra carbons ... generators ... more electricity . . . and in some cases extra projectionists ... also started to stay away from this form of picture. This article gives the up-to-date details about two systems that use a single strip of 35mm film to achieve the 3-D effect ... With these systems it is possible to run a 3-D film in much the same manner as an ordinary 2-D offering ... and also give the public a sharper ... and brighter picture at the same time. As has always been the case, whenever there was a problem in the industry, solutions to dual projector 3-D have started to appear. The material presented here represents two efforts being made to revive interest in threedimensional films. VECTOGRAPH SINGLE STRIP 3-D As this edition of THEATRE CATALOG goes to press, a team of scientists and engineers, combining the top talents of two leading photographic laboratories, is busy on the final stages of a development program that promises to put 3-D back in the movies—and put it back to stay. The laboratories are those of Technicolor Motion Picture Corporation and Polaroid Corporation. Their goal is the commercial manufacture and printing of Vectograph film for 3-D movies. What will Vectograph film have to offer the motion picture industry when the research teams complete their jobs? What effect will it have on the viewingquality of 3-D movies? How does it fit with other 3-D projection methods and with big-screen systems such as CinemaScope and Vistavision? 1954-55 THEATRE CATALOG THE EXPRESSION on the face of the pretty model showing off a pair of polaroid viewers seems to be asking the question, is 3-D dead? Single strip systems might supply the answer to this question. Future Holds the Answers The future will have to write the answers to some of these questions, but with a few technical facts about Vectograph film you can make some preliminary forecasts for yourself. The basic fact about the new film is that with it you will be able to project a 3-D movie in full color with a single projector, without any attachments whatsoever. Patrons will wear polarizing viewers and the screen will be one of the modern types having a metalized surface. Otherwise, everything is as easy as it is for ordinary 2-D movies. The operator need not even know that he is running a 3-D picture. At first glance, a strip of Polaroid Vectograph film looks like a strip of any other 35 millimeter color film. It looks the same, even feels the same, Potentially, however, each film frame carries not one image but two, each occupying the full area of the frame. Both of the images required for true 3-D movies are superimposed on the same film base. Many important advantages result. As Dr. Kalmus summed it up in Techni color’s annual report: “If this application of the Polaroid invention proves successful .. . it should provide a fresh impetus to the production of three-dimensional pictures by making them more comfortable to view and by making it easier for all exhibitors to show them.” One Print Required Specifically, for the exhibitor, it means that a 3-D picture will require one (Vectograph) release print, instead of two. The exhibitor will be freed from such special equipment requirements as interlocks, projection filters, oversize magazines. He will be able to run continuous 3-D shows, without intermission. He will require no additional operators. Even more important, there will be no further difficulties with faulty synchronization. The two images are effectively locked in place, printed one over the other on the same film. This promises a degree of comfort and ease of viewing 281