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THREE-DIMENSIONAL MOTION PICTURES 11 screen the spectator sees blurred red and green images In motion, but the colored filters cut off one of the Images, so that separate pictures are presented to each eye, as in the old-fashioned stereoscope, and the combination of these gives the appearance of relief to the figures. Plasticon pictures follow the principle set down by Nature, that each eye sees its own image. The movies of today have but two dimensions, heighth and breadth. Depth is not present and we must judge distances by size. The third dimension or depth is the basic principle of "Plasticon Pictures'* and we are now able to view upon the screen pictures that have natural solidity. All of the third dimensional systems introduced up to late in the *20's employed the use of color in making the picture and again to separate the two pictures during projection. Generally a red-orange filter was used for the right eye while a blue-green filter was used for the left eye. With the introduction of the Polaroid light polar izing filters, the original anaglyph process was disc ontinued and the Polaroid filters were substituted for the colored glasses. In 1939 j. A. Norling of the Loucks and Norling Studios in New York City produced a series of "shorts" in three dimensions. These were released by Loew's under the name of "Audioscopiks," the pictures found favorable acceptance by audiences not only in this country, but throughout the world. Nor ling has made a life-time study of stereoscopic motion pictures, and is recognized as an outstanding authority on the subject. A third-dimension motion picture made by "stop-motion" photography was produced by Norling for the Chrysler Corp., and was viewed by over 5,000,000 people during the run of the World's Fair in New