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

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THREE-DIMENSIONAL MOTION PICTURES 83 jumbled and doubled up. If, however, one focuses the eyes on an object in the background, the object Is pro jected Into the background twice. These facts anent the double-imaging of objects in stereoscopic or binocular vision are highly impor tant in terms of applying the stereoscopic perspectve to photography, in which case the double image would be disastrous. The perspective which has all the characteristics of the stereoscopic perspective, with the exception of the aforementioned double image, is that for which the writer has devised the name "trimensional per spective." The writer feels that in deriving the properties and characteristics of the stereoscopic perspective, no less than in reducing it to definite terms, he has proven conclusively that Helmholtz was completely right when he postulated its existence. Had Helmholtz lived to see motion pictures, and particularly a film produced by a transversely moving camera, his belief in the existence of the stereoscopic perspective would have become a certainty. The bald fact is that the advent of the sterescope, while a brilliant invention, served only to confuse in vestigators and thus barred the road to further prog ress and a true insight into the stereoscopic perspective. It gave rise to the universally accepted table that there existed in the brain an enigma which could not be solved with the means available to science, and which might very well be beyond the powers of the human mind to comprehend. The solution to this enigma was hidden in the mysterious convolutions of the cortica, which alone possessed the power to merge two visual images. This cortical-merged image, which defied measurement and