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STEREOSCOPIC MOTION PICTURES
C. Francis Jenkins
Stereoscopic motion pictures, that is, motion pictures projected in such manner that the optence sees them in true simulation of all the wonderful depth, perspective and solidity of the real scene itself, has been the problem of photographers since Daguerre made his first twin "tintypes." Its practical solution has engaged the attention of the most brilliant minds, but remains unattained. By practical method I mean commercially useful, or profitable perhaps I should say. And this probably means stereoscopic vision without eye aids. It seems to be a much more difficult task than motion pictures in natural color.
Now that motion pictures have attained world-wide acceptance, the large financial return possible on the introduction of any new thing the public approves, warrants a correspondingly large appropriation for investigation and experimentation. For this reason it is believed that this problem will be taken up by motion-picture engineers sooner or later with sufficient financial backing to insure that persistent investigation which most nearly guarantees success.
It is likely, therefore, that a report of experiments made by the writer, covering a period of years, some of them original and some of them an effort to carry the work of others nearer the goal, may be worth recording.
Doubtless it will be conceded that stereoscopic picture projection will never be publicly acceptable, and therefore, profitable, until they are attained without requiring each individual of the audience to hold some sort of a device before his eyes. Better yet, the pictures should appear stereoscopically whether viewed with one or with two eyes.
Several different methods have been employed in attacking the problem. All those I shall describe in detail produce stereoscope motion pictures on the screen ; and the results of some of the methods are really beautiful, and in some scenes, as, for example, looking at a forest across a w^ooded ravine, a true impression is obtained, which cannot be secured in any other way, and is very striking.
Perhaps one of the simplest methods, though not the best as to results, consists in projecting the separate picture frames of a film alternately through red and through green tinters, alternate frames having been made through right eye and left eye camera lenses, that is, left eye frames occur between right eye frames throughout the length of the film. The red and the green of both the filters and tinters must be complimentary and the composite screen picture must be viewed through corresponding red and green filters. These color filters may conveniently be glass or gelatine, and supported in spectacle frames, for example, although in 1898 a circular paper fan was used with two openings therein through which the eyes looked at the screen picture, these being covered
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