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Some viewers have complained of headaches and eyestrain after watching 3D films. There are two primary effects of 3D film that are unnatural for human vision: crosstalk between the eyes, caused by imperfect image separation, and the mismatch between convergence and accommodation, caused by the difference between an object's perceived position in front of, or behind the screen and the real origin of that light on the screen. This nullifies or greatly decreases immersion effects of digital stereo to them.
It has recently been discovered that each of the rods and cones in animal eyes can measure the distance to the point on the object that is in focus at the particular rod or cone. The lens selects the point on the object for each pixel to which the distance is measured; that is, humans can see in 3D separately with each eye.
The French National Research Agency ANR has sponsored multidisciplinary research in order to understand the effects of 3D film viewing, its grammar, and its acceptance. After Toy Story , there were 10 really bad CG movies because everybody thought the success of that film was CG and not great characters that were beautifully designed and heartwarming.
Now, you've got people quickly converting movies from 2D to 3D , which is not what we did. They're expecting the same result, when in fact they will probably work against the adoption of 3D because they'll be putting out an inferior product. Most of the cues required to provide humans with relative depth information are already present in traditional 2D films. For example, closer objects occlude further ones, distant objects are desaturated and hazy relative to near ones, and the brain subconsciously "knows" the distance of many objects when the height is known e.
In fact, only two of these depth cues are not already present in 2D films: stereopsis or parallax and the focus of the eyeball accommodation. However, promising results from research aimed at overcoming this shortcoming were presented at the Stereoscopic Displays and Applications conference in San Jose, U. Film critic Mark Kermode [96] argued that 3D adds "not that much" value to a film, and said that, while he liked Avatar , the many impressive things he saw in the film had nothing to do with 3D.
Kermode has been an outspoken critic of 3D film describing the effect as a "nonsense" and recommends using two right or left lenses from the 3D glasses to cut out the "pointy, pointy 3D stereoscopic vision", although this technique still does not improve the huge brightness loss from a 3D film. The depth perception this affords is only noticeable near to the head — at about arms length. It is only useful for such tasks as threading a needle.
It follows that in films portraying real life, where nothing is ever shown so close to the camera, the 3D effect is not noticeable and is soon forgotten as the film proceeds. Director Christopher Nolan has criticised the notion that traditional film does not allow depth perception, saying "I think it's a misnomer to call it 3D versus 2D.
The whole point of cinematic imagery is it's three dimensional Late film critic Roger Ebert repeatedly criticized 3D film as being "too dim", sometimes distracting or even nausea-inducing, and argued that it is an expensive technology that adds nothing of value to the film-going experience since 2-D films already provide a sufficient illusion of 3D.
Some of this loss may be compensated by running the projector's bulb at higher power or using more powerful bulbs. As of [update] , there is no official standard for 3D brightness. According to the industry de facto standard, however, the "acceptable brightness range" goes as low as 3.
Among others, Christopher Nolan has criticized the huge brightness loss: "You're not that aware of it because once you're 'in that world,' your eye compensates, but having struggled for years to get theaters up to the proper brightness, we're not sticking polarized filters in everything.
Another major criticism is that many of the films in the 21st century to date were not filmed in 3D, but converted into 3-D after filming. Filmmakers who have criticized the quality of this process include James Cameron whose film Avatar was created mostly in 3D from the ground up, with some portions of the film created in 2D, [] and is largely credited with the revival of 3D and Michael Bay.
In contrast, computer-animated films for which the original computer models are still available can be rendered in 3D easily, as the depth information is still available and does not need to be inferred or approximated.
This has been done with Toy Story , among others. From Wikipedia, the free encyclopedia. Film that gives an illusion of three-dimensional depth. This article is about motion pictures that give an illusion of depth. For 2D motion pictures created using 3D modeling software , see Computer-generated imagery. For motion pictures created using stereophotogrammetry, see Volumetric video.
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. December Learn how and when to remove this template message. Further information: Stereoscopy. Main article: Stereo photography techniques. Main article: 2D to 3D conversion. Further information: 3D television and 3D Display.
Main article: Anaglyph 3D. Main article: Polarized 3D system. Main article: Active shutter 3D system. Main article: Autostereoscopy. Main article: Health effects of 3D.
Film portal. Retrieved April 18, ISSN Stereoscopic Cinema and the Origins of 3-D Film, University Press of Kentucky. April 10, Archived from the original on July 24, — via Internet Archive.
Handbook to the industrial department of the International exhibition, April 10, — via Google Books. Retrieved June 14, How Motion Pictures are Made. Harvard University. Animals in Motion. Courier Corporation. ISBN Macmillan Journals Limited. The Projection Box. Four Aspects of the Film. New Screen Techniques, p. Retrieved August 29, Moving Picture World , June 26, , p. Film Criticism. Archived from the original on December 31, Retrieved October 14, Lexington, Ky.
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They have existed in some form since , but had been largely relegated to a niche in the motion picture industry because of the costly hardware and processes required to produce and display a 3D film, and the lack of a standardized format for all segments of the entertainment business.
Nonetheless, 3D films were prominently featured in the s in American cinema, and later experienced a worldwide resurgence in the s and s driven by IMAX high-end theaters and Disney -themed venues. The basic components of 3D film were introduced separately between and A combination of these elements into animated stereoscopic photography may have been conceived early on, but for decades it did not become possible to capture motion in real-time photographic recordings due to the long exposure times necessary for the light-sensitive emulsions that were used.
Charles Wheatstone got inventor Henry Fox Talbot to produce some calotype pairs for the stereoscope and received the first results in October Only a few more experimental stereoscopic photographs were made before David Brewster introduced his stereoscope with lenses in Wheatstone also approached Joseph Plateau with the suggestion to combine the stereoscope with stereoscopic photography.
In , Plateau published about this concept in an article about several improvements made to his fantascope and suggested a stop motion technique that would involve a series of photographs of purpose-made plaster statuettes in different poses. Production of images proved very difficult, since the photographic sequence had to be carefully constructed from separate still images.
The bioscope was no success and the only extant disc, without apparatus, is found in the Joseph Plateau collection of the University of Ghent. The disc contains 12 albumen image pairs of a machine in motion. Most of the other early attempts to create motion pictures also aimed to include the stereoscopic effect. In November , Antoine Claudet claimed to have created a stereoscope that showed people in motion.
Johann Nepomuk Czermak published an article about his Stereophoroskop. His first idea to create animated images in 3D involved sticking pins in a stroboscopic disc in a sequence that would show the pin moving further into the cardboard and back. He also designed a device that would feed the image pairs from two stroboscopic discs into one lenticular stereoscope and a vertical predecessor of the zoetrope. This included a version that used an endless band of pictures running between two spools that was intermittently lit by an electric spark.
In his application he stated: "This has frequently been done with plane pictures but has never been, with stereoscopic pictures". He used three sets of stereoscopic photographs in a sequence with some duplicates to regulate the flow of a simple repetitive motion, but also described a system for very large series of pictures of complicated motion.
On 11 August , the Daily Alta newspaper announced a project by Eadward Muybridge and Leland Stanford to produce sequences of photographs of a running horse with 12 stereoscopic cameras.
Muybridge had much experience with stereo photography and had already made instantaneous pictures of Stanford's horse Occident running at full speed. He eventually managed to shoot the proposed sequences of running horses in June , with stereoscopic cameras. In , Muybridge claimed that he had soon after placed the pictures in two synchronized zoetropes and placed mirrors as in Wheatstone's stereoscope resulting in "a very satisfactory reproduction of an apparently solid miniature horse trotting, and of another galloping".
Thomas Edison demonstrated his phonograph on 29 November , after previous announcements of the device for recording and replaying sound had been published earlier in the year.
An article in Scientific American concluded "It is already possible, by ingenious optical contrivances, to throw stereoscopic photographs of people on screens in full view of an audience.
Add the talking phonograph to counterfeit their voices and it would be difficult to carry the illusion of real presence much further". Wordsworth Donisthorpe announced in the 24 January edition of Nature that he would advance that conception: "By combining the phonograph with the kinesigraph I will undertake not only to produce a talking picture of Mr.
Gladstone which, with motionless lips and unchanged expression shall positively recite his latest anti-Turkish speech in his own voice and tone. Not only this, but the life size photograph itself shall move and gesticulate precisely as he did when making the speech, the words and gestures corresponding as in real life. This was picked up in the United States and discussed in an interview with Edison later in the year.
In his patent, two films were projected side by side on screen. The viewer looked through a stereoscope to converge the two images. Because of the obtrusive mechanics behind this method, theatrical use was not practical.
Frederic Eugene Ives patented his stereo camera rig in On June 10, , Edwin S. Porter and William E. By the German film market suffered much from overproduction and too much competition. German film tycoon Oskar Messter had initially gained much financial success with the Tonbild synchronized sound films of his Biophon system since , but the films were losing money by the end of the decade and Messter would stop Tonbild production in Producers and exhibitors were looking into new film attractions and invested for instance in colorful imagery.
The development of stereoscopic cinema seemed a logical step to lure visitors back into the movie theatres. In , German civil engineer August Engelsmann patented a process that projected filmed performances within a physical decor on an actual stage. Soon after, Messter obtained patents for a very similar process, probably by agreement with Engelsmann, and started marketing it as "Alabastra".
Performers were brightly dressed and brightly lit while filmed against a black background, mostly miming their singing or musical skills or dancing to the circa four-minute pre-recorded phonographs. The film recordings would be projected from below, to appear as circa 30 inch figures on a glass pane in front of a small stage, in a setup very similar to the Pepper's ghost illusion that offered a popular stage trick technique since the s.
The glass pane was not visible to the audience and the projected figures seemed able to move around freely across the stage in their virtual tangible and lifelike appearance.
The brightness of the figures was necessary to avoid see-through spots and made them resemble alabaster sculptures. To adapt to this appearance, several films featured Pierrot or other white clowns, while some films were probably hand-coloured. Although Alabastra was well received by the press, Messter produced few titles, hardly promoted them and abandoned it altogether a few years later.
He believed the system to be uneconomical due to its need for special theatres instead of the widely available movie screens, and he didn't like that it seemed only suitable for stage productions and not for "natural" films. Nonetheless, there were numerous imitators in Germany and Messter and Engelsmann still teamed with American swindler Frank J. Goldsoll set up a short-lived variant named "Fantomo" in Their patented system was very similar to Alabaster, but projected life-size figures from the wings of the stage.
With much higher ticket prices than standard cinema, it was targeted at middle-class audiences to fill the gap between low-brow films and high-class theatre. Audiences reacted enthusiastically and by there reportedly were theatres outside Austria, in France, Italy, United Kingdom, Russia and North America. However, the first Kinoplastikon in Paris started in January and the premiere in New York took place in the Hippodrome in March In , Walter R.
Booth directed 10 films for the U. Kinoplastikon, presumably in collaboration with Cecil Hepworth. Theodore Brown, the licensee in the U. Alabastra and Kinoplastikon were often advertised as stereoscopic and screenless. Although in reality the effect was heavily dependent on glass screen projection and the films were not stereoscopic, the shows seemed truly three-dimensional as the figures were clearly separate from the background and virtually appeared inside the real, three-dimensional stage area without any visible screen.
Eventually, longer multi-reel films with story arcs proved to be the way out of the crisis in the movie market and supplanted the previously popular short films that mostly aimed to amuse people with tricks, gags or other brief variety and novelty attractions. Sound film, stereoscopic film and other novel techniques were relatively cumbersome to combine with multiple reels and were abandoned for a while.
Fairall , and cinematographer Robert F. A single projector could be used to display the movie but anaglyph glasses were used for viewing. The camera system and special color release print film all received U. S Patent No. Early in December , William Van Doren Kelley, inventor of the Prizma color system, cashed in on the growing interest in 3D films started by Fairall's demonstration and shot footage with a camera system of his own design.
Also in December , Laurens Hammond later inventor of the Hammond organ premiered his Teleview system, which had been shown to the trade and press in October.
Teleview was the first alternating-frame 3D system seen by the public. Using left-eye and right-eye prints and two interlocked projectors , left and right frames were alternately projected, each pair being shown three times to suppress flicker. Viewing devices attached to the armrests of the theater seats had rotary shutters that operated synchronously with the projector shutters, producing a clean and clear stereoscopic result.
The only theater known to have installed Teleview was the Selwyn Theater in New York City, and only one show was ever presented with it: a group of short films, an exhibition of live 3D shadows, and M. The show ran for several weeks, apparently doing good business as a novelty M.
In , Frederic Eugene Ives and Jacob Leventhal began releasing their first stereoscopic shorts made over a three-year period. The first film, entitled Plastigrams , was distributed nationally by Educational Pictures in the red-and-blue anaglyph format.
The late s to early s saw little interest in stereoscopic pictures. In Paris, Louis Lumiere shot footage with his stereoscopic camera in September The prints were by Technicolor in the red-and-green anaglyph format, and were narrated by Pete Smith. Unlike its predecessors, this short was shot with a studio-built camera rig. Prints were by Technicolor in red-and-blue anaglyph.
The short is notable for being one of the few live-action appearances of the Frankenstein Monster as conceived by Jack Pierce for Universal Studios outside of their company. While many of these films were printed by color systems, none of them was actually in color, and the use of the color printing was only to achieve an anaglyph effect. While attending Harvard University , Edwin H.
Land conceived the idea of reducing glare by polarizing light. He took a leave of absence from Harvard to set up a lab and by had invented and patented a polarizing sheet.
In January , Land gave the first demonstration of Polaroid filters in conjunction with 3D photography at the Waldorf-Astoria Hotel. Using Polaroid filters meant an entirely new form of projection, however. Two prints, each carrying either the right or left eye view, had to be synced up in projection using an external selsyn motor.
Furthermore, polarized light would be largely depolarized by a matte white screen, and only a silver screen or screen made of other reflective material would correctly reflect the separate images. The Italian film was made with the Gualtierotti camera; the two German productions with the Zeiss camera and the Vierling shooting system.
All of these films were the first exhibited using Polaroid filters. The Zeiss Company in Germany manufactured glasses on a commercial basis commencing in ; they were also independently made around the same time in Germany by E. In it, a full Chrysler Plymouth is magically put together, set to music.
Originally in black and white, the film was so popular that it was re-shot in color for the following year at the fair, under the title New Dimensions. It consisted of shots of various views that could be seen from the Pennsylvania Railroad's trains. In the s, World War II prioritized military applications of stereoscopic photography and it once again went on the back burner in most producers' minds.
What aficionados consider the "golden era" of 3D began in late with the release of the first color stereoscopic feature, Bwana Devil , produced, written and directed by Arch Oboler.
The film was shot in "Natural Vision", a process that was co-created and controlled by M.
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