Possibilities of Stereoscopic Motion Pictures

The historical background of three-dimensional motion pictures is first discussed, leading up to the requirements of true stereoscopy and a discussion of some of the factors involved, such as overlap, detail, apparent sizes of objects, haze, lighting effects, and two-eye pictures taken eye-distance apart. Serious three-dimensional work falls into two classes: (a) critical-angle stereoscopy, and (b) anaglyph stereoscopy. Under the latter heading falls the use of colors to achieve stereoscopic effects, as in Lumière's work, and Audioscopics, which have several disadvantages; also polarizing anaglyphs, first operated by Anderton in 1893, and most recently through the use of Polaroid. — Advantages to be gained from three-dimensional pictures in color as opposed to single pictures using the same color system are explained. Some of the problems of photographers and theaters in using the Polaroid system are described, followed by a discussion of the advantages of stereoscopic pictures in dramatic delineation.

Print ISSN

0097-5834

Published

1937-12

Content type

Original Research

DOI

10.5594/J01908