Basic Principles of the Three-Dimensional Film

Professional three-dimensional (3-D) film productions cannot be satisfactorily undertaken without a comprehensive theory of the transmission of an image in space from scene to screen. In Part I the outlines of such a theory are laid down, and the elements of a standard set of concepts and nomenclature put forward. Part II draws an example from a recent film, The Black Swan, to show how the stereotechnician computes a sequence of shots in the desired space relationship, and how simple graphical techniques may be employed to plot such relationships. From these graphs may be determined the magnitude of any postcorrections required to alter the continuity in space, to adjust the film to screens of widely differing size or to eliminate certain camera errors. Part III forms a critique of existing camera procedures, including those based on the supposed identity between human vision and the viewing of the space image. Part IV sums up the differences of technique between the flat film and the 3-D film.

Print ISSN

0898-042X

Published

1952-10

Content type

Original Research

DOI

10.5594/J01778