Third Dimension Movies And E X P A N D E D Screen (1953)

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82 THREE-DIMENSIONAL MOTION PICTURES the distance of these objects Increases, this "looking around"' effect decreases and gradually disappears, to become zero at the critical distance. Now, if one looks around an object in the fore ground, one must see more of the background: The diagram shows that this is exactly what happens,, due to the slenderizing of foreground objects and the loca tion of the interspace viewing points, from which "more" of the background is visible than from the location of either one of the eyes. Between the extreme narrowing down of objects and widening of interspaces and the geometric, mon ocular aspect beyond the critical distance, there exist, of course, an infinite number of gradations. In prac tical terms this means that, for instance, when a per son is seen at a distance of 10 feet he appears more slender than when seen at 20 feet, and that at 20 feet he appears to be more slender than when seen at 50 feet distant; while after the critical distance is reached,, the person is seen in the proportions which, in the geometric perspective, obtain at any and all distances. It is quite evident, of course, that the facts here enumerated lend themselves to exact mathematical analysis. Taking the interpupillary distance at an average of 6.5 cm, the percentage of slendering effect may be calculated for any chosen distance, as may be the opening up of the interspacings in the binocular image. There is one special case to be considered in con nection with the stereoscopic perspective, relating to what happens when very narrow objects are seen at an extremely short distance. Such an object is shown at F. Obviously, in order to view this object sharply binocularly ? the eyes must assume a crosseyed position. When they do this, the background becomes at once