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D film - Wikipedia. A three- dimensional stereoscopic film (also known as three- dimensional film, 3. D film or S3. D film)[1] is a motion picture that enhances the illusion of depth perception, hence adding a third dimension. The most common approach to the production of 3. D films is derived from stereoscopic photography. In it, a regular motion picture camera system is used to record the images as seen from two perspectives (or computer- generated imagery generates the two perspectives in post- production), and special projection hardware and/or eyewear are used to limit the visibility of each image in the pair to the viewer's left or right eye only.

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D films are not limited to theatrical releases; television broadcasts and direct- to- video films have also incorporated similar methods, especially since the advent of 3. D television and Blu- ray 3. D. 3. D films have existed in some form since 1.

D film, and the lack of a standardized format for all segments of the entertainment business. Nonetheless, 3. D films were prominently featured in the 1. American cinema, and later experienced a worldwide resurgence in the 1. IMAX high- end theaters and Disney themed- venues. D films became more and more successful throughout the 2. D presentations of Avatar in December 2.

January 2. 01. 0. Timeline[edit]Early patents and tests[edit]The stereoscopic era of motion pictures began in the late 1.

British film pioneer William Friese- Greene filed a patent for a 3. D film process. 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.[2]Frederic Eugene Ives patented his stereo camera rig in 1. The camera had two lenses coupled together 1¾ inches (4. On June 1. 0, 1. 91.

Edwin S. Porter and William E. Waddell presented tests to an audience at the Astor Theater in New York City.[4] In red- green anaglyph, the audience was presented three reels of tests, which included rural scenes, test shots of Marie Doro, a segment of John Mason playing a number of passages from Jim the Penman (a film released by Famous Players- Lasky that year, but not in 3. D), Oriental dancers, and a reel of footage of Niagara Falls.[5] However, according to Adolph Zukor in his 1. The Public Is Never Wrong: My 5. Years in the Motion Picture Industry, nothing was produced in this process after these tests.

Early systems of stereoscopic filmmaking (pre- 1. Audience wearing special glasses watch a 3. D "stereoscopic film" at the Telekinema on the South Bank in London during the Festival of Britain 1. The earliest confirmed 3.

D film shown to an out- of- house audience was The Power of Love, which premiered at the Ambassador Hotel Theater in Los Angeles on 2. September 1. 92. 2.[6][7][8] The camera rig was a product of the film's producer, Harry K.

Fairall, and cinematographer Robert F. Elder.[2] It was projected dual- strip in the red/green anaglyph format, making it both the earliest known film that utilized dual strip projection and the earliest known film in which anaglyph glasses were used.[9] Whether Fairall used colored filters on the projection ports or whether he used tinted prints is unknown. After a preview for exhibitors and press in New York City, the film dropped out of sight, apparently not booked by exhibitors, and is now considered lost. Early in December 1. William Van Doren Kelley, inventor of the Prizma color system, cashed in on the growing interest in 3. D films started by Fairall's demonstration and shot footage with a camera system of his own design. Kelley then struck a deal with Samuel "Roxy" Rothafel to premiere the first in his series of "Plasticon" shorts entitled Movies of the Future at the Rivoli Theater in New York City .

Also in December 1. 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 3. D 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 3. Bcuz Of U Full Movie.

D shadows, and M. A. R. S., the only Teleview feature. The show ran for several weeks, apparently doing good business as a novelty (M. A. R. S. itself got poor reviews), but Teleview was never seen again.[1. In 1. 92. 2, 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.

Ives and Leventhal then went on to produce the following stereoscopic shorts in the "Stereoscopiks Series" released by Pathé Films in 1. Zowie (April 1. 0), Luna- cy! May 1. 8), The Run- Away Taxi (December 1. Ouch (December 1.

On 2. 2 September 1. Luna- cy! was re- released in the De. Forest. Phonofilm sound- on- film system.[1. The late 1. 92. 0s to early 1. In Paris, Louis Lumiere shot footage with his stereoscopic camera in September 1.

The following March he exhibited a remake of his 1. L'Arrivée du Train, this time in anaglyphic 3. D, at a meeting of the French Academy of Science.[1. In 1. 93. 6, Leventhal and John Norling were hired based on their test footage to film MGM's Audioscopiks series. The prints were by Technicolor in the red- and- green anaglyph format, and were narrated by Pete Smith. The first film, Audioscopiks, premiered January 1. The New Audioscopiks premiered January 1.

Audioscopiks was nominated for the Academy Award in the category Best Short Subject, Novelty in 1. With the success of the two Audioscopiks films, MGM produced one more short in anaglyph 3. D, another Pete Smith Specialty called Third Dimensional Murder (1.

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.[1. Introduction of Polaroid[edit]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 1.

In 1. 93. 2, he introduced Polaroid J Sheet as a commercial product.[1. While his original intention was to create a filter for reducing glare from car headlights, Land did not underestimate the utility of his newly dubbed Polaroid filters in stereoscopic presentations. In January 1. 93.

Land gave the first demonstration of Polaroid filters in conjunction with 3. D photography at the Waldorf- Astoria Hotel.[1. The reaction was enthusiastic, and he followed it up with an installation at the New York Museum of Science.[citation needed] It is unknown what film was run for audiences at this exhibition. 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.