We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
12 THREE-DIMENSIONAL MOTION PICTURES York City in 1939. Norling's three-dimensional earner lias recently been taken over by RKO for use i their stereoscopic pictures. A method of photograpt ing for three-dimension pictures using only one earner and one film to carry the two images, was to use "beam-splitter." This consisted of either mirrors o prisms, so placed as to split the light beam into tw< different paths. The system entails a great loss o light. Natural Vision uses such a beam splitter betweei the two cameras when photographing the picture. A proposed system in photographing and project ing "wide-screen" pictures, was to use the Newcome: Anamorphoser lens. This special lens compresses tin pictures horizontally on the film when photograph Ing, and another lens is required for use on the pro jector when screening the picture to expand the pic ture. This is the system now being considered bj Fox, and to be placed on the market under the nam* of "CinemaScope." This is NOT a third-dime*isior system, merely one in which the screen ratio is changec and the picture is expanded horizontally. The recent introduction of Cinerama on Broad way was undoubtedly responsible for the revived in terest in third-dimension motion pictures. Cinerama, like CinemaScope, is not a third-dimensional picture, its huge screen proportions (the screen picture is 65 feet wide) and the "wrap-around" effect together with the use of stereophonic sound, tends to give an "illusion'" of depth to the projected picture. The box offices of those theaters showing three- dimension films, or the expanded picture, show con clusively that this new form of picture has met with public approval, and that theater audiences want a change from the old flat, two-dimension picture. Box office records have been broken in practically every theater showing this new type picture, and these crowds