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April 2005 Issue

Vol. 3, No. 4

3-D Review is your headquarters for information about new stereoscopic products from around the world.

3-D Review Online Magazine Celebrates its 3rD Year

3-D Review Online Magazine logoWith this issue, 3-D Review Online Magazine celebrates its 3rd year of publication. In this issue, the past meets the future.

As a showing of 1954's Creature from the Black Lagoon in 3-D flickers once again on the big screen announcements abound from Hollywood about a new process to convert any 2-D film to 3-D. We hope you enjoy several articles about this new digital 3-D process as well as the rest of this anniversary issue.

Thanks to the people from around the world who have sent messages, provided products and made 3-D Review Online Magazine such a success.
Van Beydler - Editor, 3-D Review Online Magazine

Creature from the Black Lagoon to be shown in 3-D at the historic Missouri Theatre in Columbia, MO on April 8, 2005

The Creature from the Black LagoonMore than 50 years after it's release, the last of the classic Universal Monster films, The Creature from the Black Lagoon, will be shown on the big screen in 3-D format. Showtime is at 8 p.m. on Friday, April 8, 2005, at the historic Missouri Theatre in Columbia, Missouri.

The anaglyphic 3-D presentation is part of the Missouri Theatre Film Series in conjunction with the Missouri Symphony Society. The Missouri Theatre opened in 1928. It is located in "The District" in downtown Columbia, Missouri.

“Not since the beginning of time has the world beheld terror like this!” Directed by Jack Arnold and originally brought to the big screen by Universal-International in 1954, Creature from the Black Lagoon just celebrated its 50th anniversary. The story goes that a scientific expedition searching for fossils along the Amazon River discover a prehistoric Gill-Man in the legendary Black Lagoon. The brave explorers capture the mysterious creature, but it breaks free. The Gill-Man returns to kidnap the the lovely Kay, fiancée of one of the scientists, with whom it has fallen in love.

There is a surprise pre-show before the movie! Doors open at 7 p.m. Those who purchase tickets for this monster movie classic starring Richard Carlson and Julia Adams will receive free 3-D glasses at the door! The Creature from the Black Lagoon is not rated and has a running time of 79 minutes.

In-Three Inc. announces the debut of its unique Dimensionalization® Process that Converts Any Flat 2-D Live Action or CGI Feature Motion Pictures into Fully Realistic 3-D Motion Pictures

In-Three Web MarqueeIn-Three Inc., after years of steady development, has announced the first public screenings of 3-D motion picture images converted from flat 2-D live action photography. These 3-D images were converted into fully realistic 3-D by use of In-Three’s patented Dimensionalization® process.

In-Three’s Dimensionalization® process provides film makers, studios, and exhibitors with a new solution to 3-D movie making and presentation. In-Three’s Dimensionalization® process is completely accomplished in post-production and, as a result, filmmakers now have a powerful new tool at their disposal and no longer have to concern themselves with the inherent complexities and difficulties of having to shoot in 3-D with traditional dual camera systems. Furthermore, movies converted to 3-D via the Dimensionalization® process produce no eye fatigue for theatre audiences.

With several exciting movies in the works, exhibitors will have a flow of 3-D product and theatre audiences will finally be able to enjoy both new and classic movie features in an entirely new reality elevated 3-D cinematic experience.

In-Three Inc.




In-Three Inc.
29229 Canwood St.
Agora Hills CA, 91301
United States
(818) 991-7775

Founded in 1999 by Michael C. Kaye, In-Three Inc. has developed a revolutionary patented (and patents pending) process, called Dimensionalization®, that converts ordinary 2-D (flat) motion pictures into fully realistic and engrossing 3-D motion pictures. In-Three’s Dimensionalization® process finally brings real 3-D imaging into mainstream cinemas by greatly enhancing the “sense of reality” of the motion picture viewing experience. In-Three’s Dimensionalization® process also happens to be perfectly timed with the new technology of Digital Cinema, which although in its infancy, will replace decades old 2-D cinema film projection with an entirely new advanced reality elevated cinematic experience.

James Cameron’s Earthship Productions Inc. called upon In-Three Inc. to Dimensionalize® clips that will appear in their upcoming underwater documentary Aliens of the Deep. “We presented In-Three with a real brainteaser, chaotic underwater footage of tiny creatures swarming the lens of our remotely operated 2-D camera. They were not daunted and the results are remarkable, allowing us to use original 2-D footage as part of our 3-D presentation. Viewers feel like they are up close and personal with some of the strangest life forms our planet has to offer, thanks to In-Three,” said Ed W. Marsh, Creative Producer of Aliens of the Deep.

The films Producer and Director, James Cameron, had this to say about the remarkable process: "Though I still love 3-D original photography, the technical solution provided by In-Three was a welcome addition to our palette of stereo film-making tools. They were able to add real depth to the 2-D video images captured by our robotic vehicles, and these shots blended beautifully with our 3-D shots. I predict that their innovative techniques will continue to expand the possibilities for 3-D content."

“We were pleased to be asked by Earthship to Dimensionalize® these shots for their movie,” said Michael C. Kaye, founder, President and CEO of In-Three Inc. of Agoura Hills, CA, a 5½ year old company that has been developing its amazing technology behind the scenes. “Although the running time of these clips is relatively short, they fully illustrate our capability to Dimensionalize® any 2-D content, regardless of its image source. It can come from 4:2:2 video, HD, or 16, 35, or 70mm film scanned at any resolution,” added Kaye.

“Our process is a high quality depth-restoration process that results in 100 percent authentic 3-D. It is fully resolution independent. We have finally unveiled our technology, a real process that works and results in completely believable 3-D images,” said Kaye. “We have already completed a multitude of tests for major studios and key filmmakers, Dimensionalizing® motion picture content at HD, 2K and even 4K resolutions. Further, our process lends itself perfectly to the new technology of Digital Cinema, which is actually capable of projecting 3-D images in digitally-equipped theatres today,” explained Kaye. “All that the digitally equipped theatres need to do is simply add our wireless 3-D glasses and our cleaning system.”

In-Three offers a complete package to theatres for equipping them with 3-D eyewear and automatic washing units at a very affordable price. “We use high quality 3-D imaging eyewear of our own design, not the gimmicky red/blue or passive polarized glasses used in the past. People will be pleasantly surprised when they put on comfortable high quality 3-D eyewear that is available in sizes to fit all ages,” explained Kaye.

An important benefit of In-Three’s Dimensionalization® process is that it produces no eye fatigue, which is critical for being able to watch a full-length 3-D feature movie comfortably. “Our images are as easy to view as normal real world 3-D vision. Audiences will soon discover that they can finally watch a two or three hour movie with no eye fatigue whatsoever,” said Kaye.

Although the small number of Dimensionalized® clips in the documentary Aliens of the Deep represents a modest public debut for In-Three Inc. and its unique Dimensionalization® technology, there are actually several exciting full length Dimensionalized® 3-D major motion pictures that are now in the works at In-Three for release in the very near future in digital cinemas.

Dimensionalized® 3-D Premieres at ShoWest 2005 in Las Vegas
An exciting highlight of this year’s ShoWest was the first public display of Dimensionalized® 3-D feature motion pictures converted to 3-D by In-Three Inc. In-Three’s proprietary patented process converts any 2-D feature motion picture into truly realistic 3-D unlike anything ever seen before. The event program at Showest was held on Thursday, March 17, at 2 p.m. and 3 p.m. hosted by Texas Instruments.

Star Wars in 3-D
George Lucas introduced In-Three’s segment of the program, which featured Dimensionalized® 3-D clips from Star Wars Episode II - Attack of the Clones, along with 3-D clips from other blockbuster movies from Paramount and Disney. The highlight of the presentation included the screening of the first six minutes from the original Star Wars A New Hope (Episode IV) in Dimensionalized® 3-D.

“When I first saw In-Three’s Dimensionalization process I was truly amazed. The 3-D was of a quality better than anything I had previously experienced. Seeing my own Star Wars images in authentic 3-D convinced me that it would be a whole new way for audiences to be able to re-live the Star Wars films. "Dimensionalization will significantly enhance the realism of any movie presented in this process.” - George Lucas.
Source: DCinemaToday.com

"The first time I saw In-Three’s work over a year ago all of us at LucasFilm were totally “Wow’d”. We sat there in amazement seeing our own familiar scenes in 3-D. I was truly stunned that these guys actually developed a technology that can produce such high quality 3-D pictures. The realism that they were able to create was unlike anything I’d ever seen. In-Three has developed an entirely new post production technology. With In-Three’s 3-D process film makers no longer have to concern themselves with the complexity, uncertainties and expense of shooting with dual cameras. "Believe me, we have seen a lot of 3-D, but In-Three’s is the only one that delivers. We’re sold." - Rick McCallum, Producer of Star Wars.
Source: DCinemaToday.com

Randall Kleiser, Director, screened a Dimensionalized® 3-D clip from his movie Grease
"After shooting in 70mm 3-D for Disneyland's Honey, I Shrunk the Audience, I know how complicated this format can be. With In-Three's technique, completely convincing depth is created from any two-dimensional film. George Lucas showed me In-Three's work at I.L.M.. Seeing Star Wars in 3-D was amazing enough, but when I saw John Travolta singing Greased Lightning in 3-D I was blown away. It was just like being back on the set. I know every fan in the world would come back to the theater again to see a complete 3-D version. "The possibilities are mind-boggling." - Randall Kleiser, Director of Grease.
Source: DCinemaToday.com

ShoWest attendees were amazed to see Digital Cinema 3-D that is available today using a single Digital Cinema projector being fed by one QuVis dual-stream Digital Cinema server using its standard theatre matte screen. All that is required to show compelling 3-D movies is to add In-Three’s lightweight wireless glasses and an inexpensive cleaning unit. Theatre owners will be pleasantly surprised to discover the low cost of 3-D Digital Cinema. Theatre owners will discover that they can now offer for the first time, a compelling 3-D experience only available in the cinema and not in the home.

In-Three has demonstrated its process and has completed many tests with the major studios and key film makers including George Lucas, Stephen Spielberg, Peter Jackson, James Cameron, Jeffrey Katzenberg, Kathleen Kennedy, Tom Cruise, Randal Kleiser and many others. There is exciting first run major feature content currently being Dimensionalized® at In-Three for theatrical release in Digital 3-D Cinemas within a year.

Star Wars films could be re-mastered in 3-D

Star Wars Revenge of the Sith movie posterDon't start mass-producing those Darth Vader masks with built-in 3-D lenses quite yet.
At last month's ShoWest, George Lucas said he's eager to release all six films in the Star Wars saga in digital 3-D, one film a year, starting in 2007. But even though Lucas has control of the pics and can release them when he chooses, Lucasfilm says a 3-D Star Wars series will have to wait.

"No, we don't have any real plans," Star Wars producer Rick McCallum says. "George had never seen the footage of the first six minutes of Episode IV until a week before ShoWest."

Lucas "yearns for it to happen, he wants it to happen," McCallum says, "but we can't implement it until the industry gets its act together and pushes digital cinema forward."

With rumors flying of a possible deal among Sony, Disney and Warners to finance digital cinema systems for exhibitors, that day may not be far off. And once the theaters are there, it won't take long to convert existing films to 3-D.

Michael Kaye prexy-CEO of In-Three Inc., says the company's process can be used on any film, new or old. "The funny part is that the producers and filmmakers think there has to be something they have to do. Just shoot normally, we'll do (the 3-D)."

The cost for converting a feature film varies, starting around $5 million.

Right now, Kaye says it might take a year to convert a feature to 3-D, but he hopes to cut that time to 60-120 days by the middle of 2006.

That would give Lucas at least a year before he'd need to start the process of converting any Star Wars feature to 3-D.

The 3-D release would most likely feature the six films in numerical order. The original 1977 Star Wars" is Episode IV. Source - Variety

Appearing as part of a sextet of high-profile directors (James Cameron, Robert Zemeckis, Peter Jackson, Robert Rodriguez and Randal Kleiser) promoting 3-D and digital cinema at ShoWest on Thursday, March 16, Lucas said he hadn't yet committed to a precise schedule but hoped to have the first film ready for the 30th anniversary of the original Star Wars movie in 2007 and that he would then rerelease one Star Wars film per year in 3-D.

Attendees heard how Lucas dropped plans to shoot Episode III in 3-D due to logistical problems. He added that converting a picture from 2-D to 3-D would cost in the region of $5 million.

Meanwhile Cameron said he would only shoot in 3-D in the future. He urged delegates to take the format seriously and said it should not be seen "as a gimmick but as the way the biggest, must-see tentpole movies are going to be seen." Cameron continued, "We now have a way to get people to come out from behind those HD flat-screen TVs and into the theatres."

Cameron is in preproduction on the 3-D film Battle Angel, planned for a 2007 release. "I can't shoot in a lesser format," said Cameron, "I believe that 3-D is absolutely the future. They'll have to pry my glasses out of my cold, dead fingers."
Zemeckis has two 3-D features in production, and Rodriguez is readying The Adventures of Shark Boy & Lava Girl in 3-D for release in the summer. Jackson, who is currently filming King Kong, announced no specific 3-D plans, but according to sources he has installed a 3-D master suite in his production offices in New Zealand.

Real 3-Deal for Mann Theatres

Graumann's Chinese Theatre in HollywoodOn March 14, 2005, Mann Theatres announced that it is installing a 3-D digital cinema screen at the Mann Chinese VIP Theater in Hollywood in a deal with the Beverly Hills-based firm REAL D.

Mann Theatres CEO Peter Dobson said, "With REAL D, our theaters will be poised to address consumers' demands for more sophisticated theatrical experiences from their local multiplex and help in the fight against piracy because of the extreme difficulty of pirates replicating 3-D movies."

REAL D is installing equipment in Mann Theatres at its own expense in return for a percentage of each 3-D screen's boxoffice.

REAL D chairman Michael Lewis said, "Instead of say, $10, the chain will charge $12 to $15. They make more on their return, the studio makes more, and we take a percentage that only kicks in on 3-D content played." Execs declined to name any upcoming films slated to play on the REAL D system.

Thursday, March 17, at ShoWest, Lucas was expected to discuss 3-D as part of a digital cinema panel. He is expected to project a digitally remastered 3-D excerpt from one of the Star Wars movies, though not Revenge of the Sith.

According to sources familiar with developments in the field, Lucas has contacted the Agoura Hills, California based firm In-Three about the possibility of remastering all his Star Wars movies for 3-D. As part of its technology, In-Three also provides theaters with 3-D glasses and cleaning devices.

James Cameron, who also was expected to be in attendance, has used In-Three to remaster portions of his documentary Aliens of the Deep. Although Cameron shot the footage with a high-definition video stereoscopic rig, portions were massaged by In-Three during post production to enhance certain 3-D effects.

IMAX Announces 2-D to 3-D Conversion Technology but Gives No Details

IMAX logo Max Corp., the large-screen exhibitor, announced a new technology that would make it possible to convert any conventional 2-D 35mm film for the 3-D screen environment. IMAX did not give any details about the technology and no studio has yet signed on to create any large format 3-D films using the unknown process. Most, if not all, 3-D films shown on IMAX screens so far have used 3-D technology from other sources.

Warner Brothers' 3-D version of The Polar Express uses Sony Pictures Imageworks proprietary Imagemotion™ process. The film contains animation work from Sony Pictures Imageworks and Universal CGI.

Tom Wilson's Pop Fun Art

Tom Wilson poses with his original painting of a View-Master Viewer.  Photo courtesy of Tom Wilson.From View-Master® viewers to Rock 'em Sock 'em Robots®, Tom Wilson's paintings have captured pop culture at it's most basic level, through the toys we all grew up with. Tom Wilson’s paintings can best be described by the reactions they receive, a moment of joyful surprise and happy longing.

"My intimate knowledge of what it’s like to be an object of pop culture has inspired me to embrace and examine the joy of memory, and the curious thrill of pop recognition," said Wilson. "We love the toys that we played with, or longed for, just as we love the movies we’ve seen, some of them more for the memory of a time and place than the films themselves. Our pasts are sacred to us, and whether our early years bring easy smiles, or the distant rumble of thunder long past, there is an undeniable magic that surrounds pieces of clean, colorful plastic, made for us by giant corporations that told us 'Buy this, hold it in your hands, and all will be well.' Somehow, we believed them, and sometimes, we still do. Bottom line: These paintings are fun and I love looking at them."

After studying fine art photography at U.C.L.A., Wilson followed the path from photography, to mixed media works, until he finally found a home in color and canvas. Tom studied drawing and painting at the Art Academy of Los Angeles, as well as the California Art Institute, followed by extensive study in painting with the noted abstract painter Rene Amitai, as well as the renown California impressionist Arthur Bjorn Egeli. His career in the arts began on the stage, as an actor, comedian and writer who has shared the stage and screen with a who’s who of the entertainment industry, making hundreds of television appearances around the world, including The Today Show, Good Morning, America, CBS This Morning, The Tonight Show with Jay Leno, Late Night with David Letterman, Good Morning, Great Britain and Tonight Live in Australia, as well as a televised royal premiere for the benefit of the Prince’s Trust, where he was received and congratulated by Princess Diana herself.

His career on stage began in the theatre, studying in New York, which led down an unusual path of starvation and opportunity to the stages of comedy clubs, where he performed for many years, headlining across the country. After moving to Los Angeles, he was accepted as a regular at the world famous Comedy Store, performing with the “Comedy Store Players,” improvising onstage with Richard Pryor, Robin Williams and Jim Carrey when he was 21 years old. He was soon cast in episodic television shows, commercials and eventually was cast as “Biff,” Michael J. Fox’s beefy nemesis, in the classic Back To The Future trilogy of films. A long string of movie roles followed, with the opportunity to work with legendary directors such as John Frankenheimer, Stuart Rosenberg, Taylor Hackford, Robert Zemeckis, Steven Spielberg and Steve Oedekerk. He has appeared as a recurring guest star on the television series Ed, Do Over, Freaks and Geeks, Titus, Fired Up and Maggie, as well as Boston Public, Two and a Half Men and many, many others.

As a writer, his fiction has been published in the literary magazines Amelia, West Word, Ipsissima verba and nonfiction and editorial writing have appeared in The New Yorker, Envoy, Us, P.C. Games and on the PBS.com Web site as part of the Frontline series. He’s been a development writer under contract at Disney, Universal and Film Roman studios, and his writing recently appeared in the anthology Sacred Passages by Bert Ghezzi, published by Doubleday.

He lives in Los Angeles with his wife, Caroline, and their four children.

On April 29, 2005, he’ll be the first actor to host a solo exhibition of his paintings at Nickelodeon Studios. Traditionally, these shows have been limited to the animation artists at Nickelodeon, but Tom is breaking new ground.

“These are unapologetically fun, colorful, beautiful paintings of things that I like to look at,” he says about the paintings of bicycles, yoyos, balsa wood model airplanes, Popsicles® and ray guns he’s exhibiting, among others. These paintings are making a splash in the art world and beyond, with bold colors and pop fun, grounded in trained technique.

How did Tom come to paint toys from the past? He says, “I’ve spent my entire adult life as an “object” of pop culture. I get stared at in airports, restaurants and supermarkets, and somewhere in those eyes is the joy of memory, that curious thrill of pop recognition that’s so powerful, yet hard to explain. These paintings are as close as I can get to explain it. These objects make us feel good, more for the memory of a time and place than for the objects themselves. I love them and I paint them as dramatic still life pieces of art, because they are beautiful and I know how they feel."

The Nickelodeon exhibition is open to the public until May 31, 2005, with an artist’s reception on Friday, April 29, 2005 from 5 to 7 p.m. at Nickelodeon Studios at 231 West Olive Avenue in Burbank, California.

Posters, prints and even original artwork can be purchased from Tom Wilson's Big Pop Fun Web site.

Spongebob Squarepants Ocean Motion 3-D Ride

Spongebob Squarepants 3-D logoSpongeBob Squarepants will star in a deep-sea 3-D motion simulator movie ride at the Paramount Action F/X Theatre at Canada's Wonderland. The adventure is the world's only ocean motion movie ride!

Theatre Features
The film system is an iWERKS 570-format film projection system. The theatre takes up 15,000 square feet with two, four level terrace sub-theatres holding a joint capacity of 128 people. Ride time lasts four minutes. The ride can host 2,220 riders per hour. A minimum height of 44-inches is required for the motion seats.

Kodak Stereo 3-D Display

Kodak Stereo 3-D DisplayThe Kodak Stereo 3-D Display lets people experience rich, full-color images as never before. Viewers feel as if they are surrounded, even immersed in the image without the use of special glasses or other cumbersome headgear.

Our stereo display technology represents a dramatic breakthrough over lenticular, parallax and barrier screen monitors, delivering outstanding image quality, incredible depth of field, SGXA resolution and the simplicity of plug-and-play.

At the heart of the system is a Kodak-patented monocentric ball lens that provides a generous 45 degree horizontal field of view, giving users the experience of viewing a 60-inch image from just three feet away. It's like having an IMAX movie theater right on your desktop.

Because field of view is directly related to the physical size of the unit, our display is perhaps larger than other display technologies. However, with a footprint only slightly larger than a 21-inch monitor, it is very workable in a desktop or laboratory environment. Our engineers also have the capability of scaling the unit to meet the requirements of a wide range of applications.

Maximum User Comfort
With parallax or lenticular systems, it is often difficult for the operator to find the optimum viewing position without encountering leakage, flicker or cross-talk from mixing left and right images. The KODAK display simplifies viewer positioning by providing multiple 24mm pupils positioned perfectly for viewing the sweet spot. As the user's eyes are positioned in the pupils, a large, high resolution image is displayed with exceptional contrast and brightness. A cowling is employed over the display panels to block out any distracting or stray lighting and to control the overall quality of the projected image.

Changing users usually doesn't require changing any set-up commands or controls with the Kodak monitor. And because our monitor is focused on infinity, eye strain and user fatigue is dramatically reduced, allowing viewers to use it for longer periods of time and maximum productivity.

True Stereo Display
Another advantage of our technology is that it doesn't require the additional cost of expensive, customized video cards or high-end desktop computers. It is compatible with the PC, Macintosh or SGI system you are currently working on.

Using an off-the-shelf video card-such as AGP G-Force4, NVIDIA or any Micrososft DirectX-, Direct 3D or Open GL-compatible cards-the Kodak display accepts two separate video signals of 1280 x 1024 (SXGA) resolution to create the separate left and right eye signals on multiple 17-inch flat panel LCD monitors for true stereo display. Providing each eye with a different image makes Kodak's stereo display unique in the marketplace.

Potential Markets and Applications
We designed our high-end stereo display for applications requiring crisp images with outstanding, true-to-life color and maximum detail, including

  • Data Visualization—molecular modeling and genomics, chemical modeling, oil and gas exploration, weather forecasting.
  • Medical—diagnostic, training, telemedicine, therapeutic
  • Engineering—computer-assisted design (CAD), new product design, virtual prototyping, computer-assisted manufacturing (CAM), architecture, landscape construction
  • Military/Security—training simulators, baggage scanning, intelligence analysis, surveillance
  • Entertainment—broadcast, film, video, arcade games, theme parks
  • Virtual Trade—e-showrooms, virtual tours, trade show booths
  • Education—museums displays, teaching aids

Overcoming the Stigma of 3-D: James Cameron's Aliens of the Deep
by Spence D Courtesy of www.filmforce.ign.com

Aliens of the Deep IMAX posterFirst there was Ghosts of the Abyss, his excursion to the Titanic, which used cutting edge technology to access areas of the sunken legend hitherto unreachable. Now comes Aliens of the Deep, in which Cameron explores the thermal pockets and seismic volcanoes of the ocean floor. What both of these projects have in common, other than Cameron and a carefully selected group of scientists, is that they are both rendered in high-definition 3-D. So even though these films are more closely related to the documentary, they still take full advantage of Cameron's love of technology and next-generation effects.

Yet, even though the 3-D employed by Cameron is top-of-the-line, the process, or rather the effect is still largely stigmatized by the general public, a populace who collectively remember the clumsy red and blue glasses and hokey floating imagery of the '50s sci-fi schlockers. In short, 3-D is by and large regarded as a gimmick. "Was it a gimmick in Aliens of the Deep?" the director asks somewhat rhetorically. "We improved the technology a little bit (from Ghosts of the Abyss), mostly in terms of image clarity. I'm not a hundred percent satisfied with the stereo, or the 3-D, in this film versus what we'll do for Battle Angel, but that has more to do with the fact that this was a documentary where we were two miles down shooting and squid would come flying by with no warning. It wasn't like 'Okay, cue the squid.' You get what you get. But in a feature format we'll be able to really control the stereo, make it very easy on the eyes and so on."

"I think it's an aesthetic," Cameron continues. "You choose your aesthetic when you work in 3-D, just like you make all your various aesthetic decisions as a filmmaker; color, filtration, diffusion, desaturation, black and white versus color, all these types of choices. 3-D has its own choices that you make. You can constantly be generating stuff that pokes the audience in the eye or you can use it to create a sense of a window into a reality that they get to share. That's what cinema does in a general sense, but I think with 3-D there's a heightened sense of physical presence for the audience in the moment. But if it's not comfortable, if it's dark, then you're not enjoying the experience. There's been a lot of bad 3-D exhibition."

Ghosts of the Abyss 3-D posterGiven the stigma attached to 3-D, but also taking into consideration the technological advances over the past 30 years, how does Cameron ensure that audience members will have that heightened sense of physical presence when watching his latest film? "The cameras that we developed have been used for the two films that I've released in the IMAX platform and Robert Rodriguez used them for Spy Kids 3-D. But he released the film using the anaglyphic red/blue process, because that was something that could be done very widely, very easily. But it's just such a horrible experience that in a way it's a setback for stereo. Although the film still made a lot of money, which is a good sign and it's not a bad use of 3-D if you see it properly presented. Unfortunately at that time the only way they had to do a wide release was to do it anaglyphic, which gives everything that chromatic shimmer to it and it will give any sane adult a headache.

"What we're hoping to do, you're familiar with the digital cinema evolution or revolution that is taking place where the studios are getting together to replace all the theaters in North America, and eventually worldwide, in the next six-seven-eight years with digital projection. The digital projection is of a very high caliber, 2K projection machines, which are spectacular, and we've worked with the projector manufacturers to make sure that they are compatible with stereo projection. So what you'll have is something that's never existed before: the sort of gorgeous image quality of an IMAX theater readily available everywhere in 3-D. So for the first time I think it's really possible and practical to do a large budget film in 3-D. It was never really practical before because it was always a gimmick and you did a smaller film and promoted the hell out of it as a 3-D experience and it always sort of came and went in these faddish waves. Hopefully what will happen is that we can establish it as a legitimate choice for a filmmaker to make a film in stereo without it primarily being sold as a 3-D experience."

Capturing the 3-D experience in a way that is neither gimmicking nor overpowering is something that Cameron is very passionate about. But then he's always been passionate about discovering the latest advances in technology and then incorporating them into his films. "My primary motivation is that I just love the way it looks and I enjoy the technical challenges of working in stereo," he enthuses. "I think about the films I've made, like Titanic for example. If I could do it using the cameras I have now I know it would be a much richer visual experience. But I'm not prepared to go back to the type of shooting I was doing before. So I'm stuck in the middle until the studios can provide me with the theaters to show digital 3-D, which is happening now. It's all happening at the right time."

3-D Screen Tracks Movement Using Light Beam and No Glasses

Fraunhofer 3-D screenA German research institute has developed a screen that requires no special glasses to display three-dimensional images and can be viewed even from the side.

The display is meant to help architects and engineers visualize their designs or to make flight simulators more realistic. Doctors at the German University of Tuebingen have used it to train for minimally invasive surgery.

The screen, developed by the Fraunhofer Institute for Telecommunications and displayed at the annual CeBIT technology fair in the German city of Hannover generates two slightly different images to make objects appear three-dimensional.

A lens in front of the display directs one beam of light toward the left eye of the viewer and a second beam toward the right, making 3-D glasses unnecessary.

If the viewer moves to the side, a camera at the top of the display registers the movement and adjusts the lens. The Berlin-based Fraunhofer Institute also shows a 3-D kiosk that uses the display, intended for high-tech showrooms.

The screen is mounted on a table that has cameras and infrared sensors hidden below the surface, which pick up on gestures, allowing the viewer to skip through images or rotate a three-dimensional object by pointing and moving the hand.

Pictures from Mars, hazardous industrial environments, operating rooms, or of components or a colleague on the other side of the world deliver a more realistic effect when displayed in 3-D. This aspect is also important for design engineers, whether they are designing aircraft, new houses or parts for cars. The drafting and designing work is still performed as usual in two dimensions. "We can link the display to a traditional CAD workstation," explains Klaus Schenke from HHI. "The designer works as normal, except that with the click of a button, the component currently being worked on can be displayed in 3-D. This makes it easier to assess the final design and its functionality."

The monitor displays the objects in three dimensions with photo-realistic quality. The models appear to be freely suspended in front of the monitor, similar to a hologram. In order to provide a sense of depth on a two-dimensional display, the system generates two separate images, one for the right eye and one for the left. These images are broken down into fine vertical strips and arranged in alternating sequence side by side. A special lens in front of the display handles the proper optical addressing, replacing the shutter glasses that are usually needed for the effect. The curved surface of the lens diffracts the light from the display in two directions. The beams assigned to the right eye are »shifted« slightly to the right, those intended for the left eye to the left. So that the viewer always receives the proper images for the corresponding eye, a camera affixed to the monitor records the position of the head. If the user moves, the lens array are automatically shifted to adjust to the new line of sight.

Trade show visitors will be able to test for themselves what live 3-D images look like using their own likeness. A stereo camera will be installed at the stand. The pictures it takes will be forwarded directly to the display, where they will be used to generate the images, live, in color and in 3-D. "What at first may sound like just another trade show stunt actually has a consequential background," according to Schenke. "Designers and contractors from different cities or even different parts of the world can use this method to discuss plans, including the spatial aspects, but without the need for shutter glasses or expensive virtual reality rooms." Another scenario concerns the use of robots, which are often controlled manually during dangerous assignments, such as disarming bombs or searching for fire victims. Images that have depth would simplify the work of robot controllers. Because the operator sees a realistic image, almost as if he were actually on the scene, he can control the robot with a much higher degree of precision.

Consumer electronics companies Philips from the Netherlands and Sharp from Japan are also developing 3-D displays that do not require special glasses. But because they do not yet track the viewer's movements, they require a viewer to choose the best position and remain there.

Perficere and Provence at The 3-D Center of Art and Photography April 1 through May 15, 2005

Perficere by Taggart and Grudowski.  All right reserved by the artists.

Starting April 1, get ready for a totally immersive 3-D experience coming to The 3-D Center of Art and Photography in Portland, Oregon.

In the gallery
Perficere wraps visitors in a 360-degree panorama exploring space, depth and perception in a murky, moody, yet beautiful world. Artists Adrienne Taggart and Ted Grudowski will appear at the artists’ reception on from 6 until 9 p.m on April 7.

Perficere, the newest installation by Adrienne Taggart and Ted Grudowski is an immersive 3-D experience that transports the viewers to another world. Its opening at the 3-D Center marks a departure for the more traditional 3-D imagery, which has been featured in the past. The exhibit is contained within a 360-degree enclosure which completely surrounds the viewer.

Grudowski and Taggart have been working together on installations with stereo photo-collages since 2002 with The Sky Is Falling: New Perspectives In Stereo, introduced at Vital 5 Productions in Seattle.

Subsequent exhibitions include the 2003 Bumbershoot Arts Festival where Circumambient Tribunal (The Way Ahead, The Far Behind) premiered in a group exhibition entitled The Last Judgment Project, and The Port of Seattle , currently on display at SeaTac International Airport .

Grudowski graduated in 1992 with a BA in photography from Southern Illinois University, where he first began developing his photo-collage style. Since moving to Seattle , he has contributed work to groups shows at COCA's Northwest Annual, Benham Studio Gallery, Seattle Art Museum Rental/Sales Gallery and Vital 5 Productions and has been featured in Photo District News. He is currently a multimedia producer for MSN.com's entertainment Web site.

Taggart is primarily self-taught, and since moving to Seattle from Salt Lake City has worked as a commission and non-commission artist. She works in various media including blacksmithing, metal casting and fabrication, woodworking, glass, lighting and found objects to create a harmonious environment and feel in her work and has exhibited work in the 2001 Pratt School of Glass Annual Art Option . She currently is an independent contractor and remodels residential homes.

Stereo Theatre
The stereo theatre will present Provence, an award winning slide show capturing the charm and joie de vivre of the French countryside. Photographed by Albert Sieg, the Photographic Society of America’s most honored stereographer. The program will be shown hourly.

With images taken during a summer trip through Provence , France , Sieg has captured a mood and flare for living that is typically French. Each image is a visual delight.

Sieg has been active as a photographer and especially as a stereophotographer for more than 40 years. His stereograms have been accepted in all major exhibitions and currently he is the world's leading exhibitor in stereo photography. He has had more than 1800 pictures accepted for exhibition and is recognized by the Photographic Society of America (PSA), Stereo Division as having the highest rank of Master Stereographer XVI. During this time his stereograms have been consistently recognized with the top awards of the exhibitions, winning more than 400 awards. His stereograms have won the Stereo slide of the Year Award numerous times, and he has been the winner of the Stereo Sequence Award several times. His photographs have been published in several journals and in publications of the Eastman Kodak Company.

He is a member of PSA having received the Honorary PSA and Fellow. He is immediate past President of the Society, a past chairman of the Stereo Division, a member and Fellow of the Third Dimension Society in England , a member of the National Stereoscopic Society and is the Past President of the International Stereoscopic Union, a worldwide organization of stereographers. He is a founding member of the Japan 3D Society. He has presented numerous stereo programs.

The 3-D Center of Art and Photography is located at 1928 NW Lovejoy in Portland, Oregon. Call (503) 227-6667.

3-D Stereoscopic Weekend coming to Cleveland, Ohio, April 30 and May 1, 2005

Stereocards uncut sheetThe National Stereoscopic Association Eastern Midwest Regional Meeting, sponsored by the National Stereoscopic Association and Ohio Stereo Photographic Society, will be held on April 30 and May 1, 2005 in the Sheraton Hotel at the Cleveland Hopkins International Airport. The event will include stereoscopic presentations, exhibits, slide shows, a trade show and auction.

Saturday April 30, 2005
9 a.m. to 4 p.m. Stereoscopic presentations and exhibits
6 p.m. Consignment auction conducted by John Waldsmith (preview at 6 p.m, auction starts at 7 p.m)

Sunday, May 1, 2005
10 a.m. to 4 pm. Trade Show. Dealer set up begins 7 a.m. with early bird admission starting at 9 a.m.

For questions about the trade show, contact John Waldsmith, Auctioneer and Show Manager at P.O. Box 83, Sharon Center, OH 44274, (330) 239-1944 or e-mail vansywalsy@aol.com.
The auction catalogue is available online. Enter Zip Code 44135 and Keyword: Stereoscopic then click on April 30 date.

For more information about the 3-D Stereoscopic Weekend Presentations and Registration contact National Stereoscopic Association Regional Director George Themelis, 10243 Echo Hill Dr, Brecksville, OH 44141, (440) 838-4752 or e-mail DrT-3d@att.net.


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