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November 2005 Issue

Vol. 3, No. 11

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Harold Lloyd Comedy Collection DVD includes 3-D photos and glasses

The Harold Lloyd Comedy Collection DVD cover artOn Nov. 15, New Line Home Entertainment will release The Harold Lloyd Comedy Collection on DVD, a collection of films, shorts and bonus features that effectively resurrect a silent-film-era comedy great rivaling Charlie Chaplin and Buster Keaton in his impact at the time.

Having appeared in more than 200 films and widely considered to be one of cinema's most respected comic geniuses, Harold Lloyd was one of Hollywood's first true movie stars. Now, entertainment enthusiasts of all ages can enjoy the work of the man who inspired generations of acting greats with The Harold Lloyd Comedy Collection.

With a career that spanned more than 34 years, Harold Lloyd essentially created the feature-length film. Best known for his comedy movies including The Freshman, Speedy and Safety Last!, which features one of Hollywood's most iconic images of Harold Lloyd hanging from the hands of a giant clock. The influence of his physical comedy is evident in the performances of many of today's leading actors. His trademark combination of physical skill, well-developed characters and keen comic timing have influenced such acclaimed talents as Lucille Ball, Jim Carrey, Dustin Hoffman and Johnny Depp.

"Harold Lloyd was a true cinema icon whose unique brand of filmmaking and comic timing have impacted generations of movie-going audiences," said Justine Brody, senior vice president of marketing, New Line Home Entertainment. "The Harold Lloyd Comedy Collection is a virtual film history treasure trove, offering viewers of all ages an outstanding selection of remastered, restored and rescored Hollywood gems."

The three-volume, seven-disc Region 1 DVD collection includes 15 feature films, 10 shorts and a bonus disc containing a treasure chest of extras including Harold Lloyd's home movies, star tributes, photo galleries, all-new interviews and featurettes and a 3-D bonus photo disc with a pair of 3-D anaglyphic glasses. The disc containing the 3-D content is only included with the collector's edition and will not be available as a separate disc. Much, if not most, of the material has not been released on TV or home video.*

Lloyd’s granddaughter Suzanne Lloyd spearheaded the drive to restore the work and image of her grandfather and worked with several producers on the massive collection of bonus features, which includes Lloyd’s home movies and a bonus photo disc with more than 100 3-D photos taken by Lloyd of Marilyn Monroe and landscapes and shots of Lloyd on the Eiffel Tower and Golden Gate Bridge.

“It has been a pleasure to work with New Line,” she said. “They were willing to step out on a limb and make Harold Lloyd a fresh, new entity.”

New Line will market the title primarily to adult film buffs and collectors through online retailers such as Amazon.com, as well as bricks-and-mortar outlets such as Best Buy. But the company also will target general fans of comedy, including kids, through mass retailers such as Target.

Volume 1 - Disc 1
Feature films and shorts - Girl Shy (1924), Safety Last! (1923), An Eastern Westerner (1920), Ask Father (1919), From Hand to Mouth (1919)
Commentary by Leonard Maltin director and Rich Correll on Safety Last!
Production and publicity galleries
Animated menus
4X3 full frame versions
2M mono audio

Volume 1 - Disc 2
Feature films and shorts - The Milky Way (1936), The Cat’s Paw (1934), Why Worry? (1923)
Harold’s Hollywood: Then and Now Featurette
Production and publicity galleries
English subtitles and closed captions
Animated menus
4X3 full frame versions
Spanish subtitles (on feature films)
2M mono audio

Volume 2 - Disc 1
Feature films and shorts - Kid Brother (1927), The Freshman (1925), Bumping Into Broadway (1919), Billy Blazes, Esq. (1919)
Commentary by Leonard Maltin, Rich Correll and film historian Richard Bann on The Freshman
Commentary by Harold Lloyd’s granddaughter, Suzanne Lloyd, author Annette Lloyd, and Rich Correll on Kid Brother
Production and publicity galleries
Animated menus
4X3 full frame versions
2M mono audio

Volume 2 - Disc 2
Feature films and shorts - Feet First (1930), Grandma’s Boy (1922), Dr. Jack (1922), Now or Never (1921), High and Dizzy (1920)
Scoring for Comedy Featurette
Production and publicity galleries
English subtitles and closed captions
Spanish subtitles
Animated menus
4X3 full frame versions
2M mono audio

Volume 3 - Disc 1
Feature films and shorts - Speedy (1928), Hot Water (1924), Never Weaken (1921), Haunted Spooks (1920),
Commentary by Suzanne Lloyd, Annette Lloyd and Rich Correll on Speedy and Haunted Spooks
Production and publicity galleries
Animated menus
4X3 full frame versions
2M mono audio

The Harold Lloyd Comedy Collection Bonus Disk cover artVolume 3 - Disc 2
Feature films and shorts - Movie Crazy (1932), For Heaven’s Sake (1926), I Do (1921), Among Those Present (1921), A Sailor-Made Man (1921), Get Out and Get Under (1920), Number Please? (1920)
Greenacres Featurette
Productions and publicity galleries
English subtitles and closed captions
Spanish subtitles
4X3 full frame versions

Bonus Disc (Collector’s Set Only)
Rare home movies
Introductions from film critic and historian Leonard Maltin
Photo galleries, lobby cards and production stills
Comparisons between domestic and international prints
“Then-and-now” location comparisons
Tributes and interviews with family, friends and legendary celebrities including Debbie Reynolds, Robert Wagner, Tab Hunter and director John Landis
Rogues’ gallery of autographed photos of celebrities, presidents and sports heroes
Scrapbook collection - Reviews, programs, etc.
3-D photos (3-D glasses included)
Over 30 featurettes
and more!

*DVD special features subject to change.

The Harold Lloyd Comedy Collection will be available in the boxset at a $89.95. Each volume can also be purchased separately at $29.95 except the Bonus Disc, which is only available in the collector's set.

Rod Serling to Introduce 3-D Episode of NBC-TV's Medium

Rod Serling Reaching beyond the grave, and The Twilight Zone, to hype one of its hits for this month's ratings sweep, NBC has enlisted the late Rod Serling to introduce a 3-D episode of its supernatural drama Medium.

The November 21 broadcast of Medium, starring Patricia Arquette as a psychic crime-solver, will feature several spooky three-dimensional effects, and the network is distributing millions of 3-D glasses, most of them through TV Guide magazine, ahead of the episode.

The most novel element of the broadcast for those viewers without glasses, perhaps, will be the 45-second opening sequence in which Sterling is "reanimated" by altering a film clip from The Twilight Zone, the often-creepy sci-fi anthology he hosted on CBS during the 1960s.

"He basically explains to people about the glasses, when to put them on, and reassures people who don't have them that they'll be able to enjoy the episode," Executive Producer Glenn Gordon Caron said.

About two-thirds into the sequence, Serling will appear in 3-D.

Caron said the black-and-white clip of the master of irony is being incorporated into Medium courtesy of Serling's estate and his wife, Carol. The playwright and producer died in 1975 at age 50.

"It's very flattering to be allowed to do this, to use his image and take advantage of the extraordinary legacy that he has," Caron said.

He said the episode, titled Still Life, was conceived in part as a device to promote interest in the show during the November sweep, when networks go all out to give the ratings of local affiliates a boost.

Medium, which debuted last season, is one of the few bright spots on NBC's schedule as the network seeks to reverse a ratings slump. The show averaged more than 12 million viewers a week so far this season, ranking in the top 20 among all scripted series in prime time.

The drama is based on the experiences of real-life forensic psychic Allison DuBois, played by Arquette, who helps police solve crimes through her ability to commune with the dead.

Caron said the 3-D sequences include a butcher's cleaver being thrown across a kitchen and a woman lying in the woods, who reaches her hand out from under a tarp as she's about to be buried alive.

Medium is not the first TV show to dabble in 3-D, though the effect is more common in movies. Other TV series to experiment with the effect in recent years have been The Drew Carey Show and 3rd Rock from the Sun. The show is also making history in that it is the first broadcast HDTV 3-D episode.

Patricia Arquette. Miranda Carabello, Jake Weber, Sofia Vassilieva and Maria Lark in a special 3-D photo from TV Guide magazine. Medium 3-D Glasses

Chicken Little in Disney Digital 3-D™

Chicken Little 3-D posterWalt Disney Pictures offers moviegoers a glimpse into the future of theatrical exhibition with the November 4th debut of Chicken Little in Disney Digital 3-D™. Disney Digital 3-D™, presented exclusively in Dolby® Digital Cinema, is a brand new state-of-the-art technology that provides the first true three-dimensional digital experience in movie theatres.

In collaboration with Disney, Dolby Laboratories is overseeing the rollout of its Dolby Digital Cinema systems in a total of 84 specially-selected, high-profile theatres in 25 top markets. Visual effects giant Industrial Light & Magic (a Lucasfilm Ltd. company) rendered the movie in 3-D.

Digital 3-D pioneer, REAL D, applied several of its patented technologies (screens, software and glasses) to make the Chicken Little 3-D experience possible for presentation on the Real D Cinema system. This joint effort has resulted in the next leap forward in the evolution of motion picture entertainment, bringing animation to life.

Chicken Little is Disney’s first fully computer-animated feature film, and it brings the Studio’s distinct filmmaking style and approach to this exciting medium. The sky’s the limit in this delightful comedy-adventure that gives a sophisticated and satirical twist to the classic fable. It is now one year after the “unfortunate acorn incident” when Chicken Little caused big-time havoc in his hometown of Oakey Oaks by proclaiming that the sky was falling after being conked on the head by what appeared to be an acorn.

Down but not out, the plucky chicken joins the local baseball team in the hopes of reviving his reputation and winning the respect of his father, Buck Cluck. When he leads the town to an upset victory, he becomes the toast of the town. But no sooner has the champion chicken redeemed himself when he is hit on the head one more time. And this time the sky really is falling! Fearful of once again being labeled crazy, he is reluctant to tell anyone what has happened. Instead, he enlists the help of his closest pals, Runt of the Litter, Abby Mallard (aka Ugly Duckling) and Fish Out of Water, in an attempt to save the day without sending the town into a whole new panic.

Commenting on the announcement, Dick Cook, chairman, The Walt Disney Studios, said, “Disney Digital 3-D™ is a truly groundbreaking technology that combines the latest innovations of science and art, and we are proud to be a part of filmmaking history. Walt Disney pioneered many technological breakthroughs and set an uncompromising goal for his Studio to constantly push the envelope to offer a superior movie going experience. We are very proud to add this animation milestone to the long list of technological breakthroughs for the studio, and we are especially thrilled to work with entertainment technology leader Dolby in this exciting launch. Likewise, we are proud to have the wizards at Industrial Light & Magic to help deliver the movie in 3-D, and the experts at REAL D on board to make 3D like no one has ever seen.”

Academy Award®-winning director James Cameron (“Titanic”), a long-time supporter of 3-D, added, “I think digital 3-D offers an opportunity to do something as profound for today’s moviegoing audiences as the introduction of color and sound. This is the next big thing, and I think people are going to respond to these really high quality 3-D images. Chicken Little is going to go a long way towards getting people really excited about 3-D again. I call it the 3-D renaissance. Disney is a leader in showmanship and animation, and animation and 3-D go together like peas and carrots. Animated films and fantasy films really benefit from 3-D. You get a heightened sense of being personally present in the space of the movie. You’re drawn into it. It’s like the movie wraps around you and takes you into its reality. That’s a very exciting thing for a filmmaker. I’m really proud of Disney for grabbing the flag and running out in front to make this happen.”

Tim Partridge, senior vice president and general manager of the professional division for Dolby Laboratories, observed, “We live in a digital world, and consumers expect most of their entertainment these days to be delivered with the quality of digital. Digital cinema ensures that the movie will look as good on the hundredth screening as it did on opening night. There’s no more dirt or scratches; the image is always crystal clear and beautifully steady. What you see on the screen is the movie exactly as the director intended. As a result, audiences are able to get much more involved in the story because there are no distractions. When audiences go to see a movie played in Dolby Digital Cinema, they will be blown away by the quality and will want to see all their films digitally in the future.”

Chicken Little really lent itself to 3-D because of the way the filmmakers composed their shots and told their story,” said Colum Slevin, senior director of computer graphics at ILM Slevin. “The design is gorgeous, simple and stylized, and your eye is always drawn to a particular character or detail with the lighting. The 3-D enriches that design and makes it pop, without ever slapping you in the face. You just feel like you’re looking at a really deep, rich image.”

Joel Aron, ILM’s digital production supervisor, observed, “What’s amazing about the 3-D in Chicken Little is that you’re able to look around and see everything in the frame. You can see things behind the characters. You can look out the window of Chicken Little’s home and see the stars in the sky. This level of detail has never been done before in 3-D and this is the latest evolution of the technology.”

“We’re excited a studio with the prestige and heritage of Disney has embraced the digital 3-D medium with such enthusiasm,” said Michael V. Lewis, chairman, Real D. “We’ve worked for years to create a digital 3-D delivery system that is elegant for exhibitors and extremely comfortable for moviegoers, and we’re thrilled Disney’s Chicken Little will be the premiere presentation in the REAL D Cinema format.”

Added Joshua Greer, CEO, REAL D, “The REAL D Cinema system projects left and right frame images sequentially at 144 frames per second, three times that of traditional film-based 3-D movies, which was the threshold REAL D deemed necessary for creating a natural 3-D entertainment experience for the mainstream consumer. As each frame alternates between left and right eye images, the system changes the orientation of the light of match the orientation of the glasses. The polarized glasses that decode the images allow audiences to tilt their heads and move around, making for the most enjoyable 3-D movie-going experience ever. Finally, a specially-treated silver movie screen keeps the polarization coherent, allowing audiences to perceive depth. This complete system allows for the most comfortable, highest quality 3-D experience ever produced, and one we think audiences will come back to experience again and again.

According to Chicken Little director Mark Dindal, “What I like about the process is that it’s very comfortable to watch. It feels like the screen becomes a window instead of a wall, and you’re looking behind it into this universe that really exists. It has the warmth and charm of a View-Master®. As I would watch the dailies come back in 3-D, I literally cheered and laughed and clapped my hands. It was a fantastic collaborative experience.”

Zach Braff - Chicken Little (voice)
Joan Cusack - The Ugly Duckling (voice)
Kelly Hoover - Runts Mom
Don Knotts - Mayor Turkey Lurkey (voice)
Garry Marshall - Father (voice)
Connor Matheus - Alien/Additional voices
Dara McGarry - Hollywood Abby
Dan Molina - Fish
Catherine O'Hara - (voice)
Amy Sedaris - Foxy Loxy (voice)
Jeremy Shada - Alien Boy (voice)
Harry Shearer - (voice)
Patrick Stewart - (voice)
Adam West - (voice)
Fred Willard - (voice)
Steve Zahn - Runt (voice)

Walt Disney presents Chicken Little nationwide in Disney Digital 3-D™ exclusively in Dobly Digital Cinema in the following theatres:


Birmingham, AL

  • Rave Motion Pictures Patton Creek 15, Hoover

Phoenix, AZ

  • Harkins Arrowhead Fountains 18, Peoria
  • Harkins Arizona Mills 24, Tempe

Los Angeles, CA

  • The El Capitan Theatre, Hollywood
  • Mann Plant 16, Van Nuys
  • Edwards Irvine Spectrum 21, Irvine
  • Mann Exchange 10, Glendale
  • Loews Cineplex Universal City 18 @ Universal Citywalk, Universal City
  • Mann Janss Marketplace 9, Thousand Oaks
  • Edwards Long Beach 26, Long Beach
  • The Bridge: Cinema de Lux, screen #10, Los Angeles
  • The Bridge: Cinema de Lux, Screen #11, Los Angeles

San Fransisco, CA

  • Loews Theatres Metreon, San Francisco
  • Century 20 Oakridge, San Jose
  • Century 20 Daly City, Daly City
  • Regal Hacienda Crossings 20, Dublin

Denver, CO

  • UA Colorado Mills Stadium 16, Lakewood

Hartford, CT

  • Showcase Cinemas Buckland Hills, Manchester

Miami, FL

  • Muvico Palace 20, Boca Raton
  • Regal Sawgrass 23, Sunrise
  • Muvico Paradise 24, Davie


Orlando, FL

  • Regal Waterford Lakes, Orlando
  • AMC Pleasure Island 24 Screen #17, Lake Buena Vista
  • AMC Pleasure Island 24 Screen #24, Lake Buena Vista
  • Premiere Theatres Oaks Stadium 10, Melbourne
  • Rave Motion Pictures Avenue 16, Melbourne


Tampa, FL

  • Muvico Baywalk 20, St. Petersburg
  • Muvico Starlight 20, Tampa

Atlanta, GA

  • Regal Mall of Georgia 20, Buford

Davenport, IA

  • Showcase Cinemas Davenport 53, Davenport

Chicago, IL

  • Loews Streets of Woodfield 20, Schaumburg
  • Regal Lincolnshire 20, Lincolnshire
  • Classic Cinemas Lake Theatre, Oak Park
  • Crown Village Crossing 18, Skokie
  • Kerasotes ShowPlace 12, Schererville

Evansville, IN

  • Kerasotes Stadium 16, Evansville

Fort Wayne, IN

  • Rave Motion Pictures Jefferson Pointe 18, Fort Wayne

Indianapolis, IN

  • Kerasotes ShowPlace 16, Indianapolis
  • Rave Motion Pictures Metropolis 18, Plainfield

Louisville, KY

  • Showcase Cinemas Stonybrook, Louisville


Boston, MA

  • Loews Theatres Boston Common, Boston
  • Showcase Cinemas Revere, Revere
  • Showcase Cinemas Randolph, Randolph

Baltimore, MD

  • Crown Annapolis Mall XI, Annapolis
  • Muvico Egyptian 24, screen # 7, Hanover
  • Muvico Egyptian 24, screen #18, Hanover

Detroit, MI

  • Star Great Lakes Crossing 25, Auburn Hills
  • MJR Brighton Town Square 20, Brighton
  • MJR Waterford 16, Waterford
  • MJR Marketplace Cinema 20, Sterling Heights
  • MJR Southgate 20, Southgate

Grand Rapids, MI

  • Celebration! Cinema Grand Rapids South, Grand Rapids

Kansas City, MO

  • Dickinson Theatres Eastglen 16 Theatre, Lee's Summit
  • AMC Town Center 20, Leawood

Minneapolis, MN

  • Kerasotes ShowPlace 16, Coon Rapids

Las Vegas, NV

  • Regal Colonnade 14, Las Vegas

New York, NY

  • Loews 84th Street Theatre 6, New York City
  • Loews Jersey Gardens Theatres, Elizabeth, NJ
  • City Center 15: Cinema De Lux, White Plains
  • Loews Cineplex Raceway 10, Westbury
  • Regal Union Square 14 Screen #6, New York City
  • Regal Union Square 14 Screen #12, New York City
  • Island 16: Cinema de Lux, Holtsville
  • Regal New Roc City 18, New Rochelle
  • Access Digital Cinemas Pavilion Theatre, Brooklyn

Cincinnati, OH

  • Showcase Springdale 18: Cinema de Lux, Cincinnati
  • Rave Motion Pictures West Chester 18, West Chester

Columbus, OH

  • Rave Motion Pictures Polaris 18, Columbus

Portland, OR

  • Regal Cinemas Bridgeport 18, Tigard

Philadelphia, PA

  • UA King Of Prussia Stadium 16, King of Prussia

Chattanooga, TN

  • Rave Motion Pictures Chattanooga 18, Chattanooga


Knoxville, TN

  • Regal Cinemas The Pinnacle 18, Knoxville

Memphis, TN

  • Malco Paradiso Theatre, Memphis

Austin, TX

  • Regal Gateway 16, Austin

Dallas, TX

  • Rave Motion Pictures Hickory Creek 16, Hickory Creek
  • Rave Motion Pictures North East Mall 18, Hurst

Houston, TX

  • AMC Willowbrook 24, Houston



San Antonio, TX

  • Santikos Silverado 16, San Antonio

Salt Lake City, UT

  • Megaplex 17 at Jordan Commons, Sandy

Washington, DC

  • Lee Highway Multiplex Cinemas, Merrifield, VA
  • Regal Countryside 20, Sterling, VA
  • Loews Georgetown 14, Washington, DC

View-Master® Releases New Reel Titles

View-Master® has released several new 3-reel sets. There are several new movie and television related sets.

Chicken Little WINX
Miss Spider
Scooby Doo
Chicken Little
This epic tale presents a new twist to the classic fable of a young chicken who causes widespread panic when he mistakes a falling acorn for a piece of the sky. In this hilarious adventure, Chicken Little is determined to restore his reputation. But just as things are starting to go his way, a real piece of the sky lands on his head. Suspense, chaos and plenty of laughs ensue as Chicken Little and his band of misfit friends attempt to save the world without sending the town into a whole new panic.

Somewhere in the universe, witches and fairies begin a battle in the name of good and evil. A group of teen girls are the stars of this most exciting series. They’re smart. They’re stylish. And they’re magical fairies … They are THE WINX!I The 3 View-Master® reels feature 21 magical 3D images of Bloom, Stella, Flora, Tecna, Musa and their Red Fountain School friends battling Darcy, Icy and Stormy, the witches of Cloud Tower School.

Miss Spider's Sunny Patch Friends
Miss Spider's Sunny Patch Friends are characters like Miss Spider, Squirt, Bounce, Dragon, Holley Spider, Wiggle, Spinner, Shimmer, Dripdrop and Pansy.

  • I'll Fly Away - Dragon is faced with a tough choice: staying with his adopted spider family or taking off for a life of dragonfly adventures,
  • Stalking the Beanstalk - Bounce and Shimmer get their hands on "magic" beans that lead them on a surprising adventure.
  • All Pupa'ed Out - A tiny caterpillar almost eats Shimmer and Squirt out of house and home before turning into a beautiful butterfly.
Scooby Doo Super Sound Talking Reel Set
The Scooby Doo Super Sound Talking View-Master® Reel Set contains 21 action packed 3-D images on three reels plus a handy storage case which doubles for a Sound Cartridge that you slip into your Super Sound FX Talking Viewer to get exciting realistic and clear sound FX, music and character voices.
Krypto Extreme Sports Cliff Dwellings Pooh's Heffalump
Krypto the Superdog
The super-powered dog from the planet Krypton that is the pet and canine companion of Superman. A member of the Legion of Super-Pets, Krypto wears a yellow dog collar and a flowing red-and-yellow cape modeled after Superman's.

Super dogs to the rescue!

Three View-Master reels with 21 3D images feate Superman's dog Krypto and his supercanine companions, Ace the Bat Hound and the Dog Star Patrol, an interstellar police force of dogs with incredible super powers.

The Krypto the Superdog blister packet is a limited edition.

Extreme Sports
Grinds and whips, grabs and flips ... all kinds of mad action sports tricks. Three 3-D reels with 21 awesome images capture action sports athletes catchin' air on bikes, blades and boards.

Manitou Cliff Dwellings Museum, Seven Falls and South Cheyenne Canon Cave of the Winds
The Manitou Cliff Dwellings are located in Manitou Springs, Colorado, at the foot of Pikes Peak is and are a rare historical treasure. Preserved under a protective red sandstone overhang, authentic Anasazi cliff dwellings, built more than 700 years ago.

Only 10 minutes from downtown Colorado Springs, world famous Seven Falls and South Cheyenne Canon give you a breathtaking view of Colorado scenery at its best!

The 3rd Reel is on Cave of the Winds located in Manitou Springs. Some of the 3-D views are Bridal Chamber, Painted Curtain, Oriental Garden and more.

Pooh's Heffalump Movie
There's a strange rumbling in the Hundred Acre Wood that could only be caused by one thing: a Heffalump! When too little Roo sets off on his own journey to capture the much-feared creature, Pooh and the rest of the crew are in for an enormous surprise. Hop along for the adventure.
Backyardigans Boxset

The Backyardigans Boxset
The Backyardigans is Nick Jr.'s animated musical adventure series about five high-spirited preschool friends, Uniqua, Pablo, Tyrone, Tasha and Austin, who rely on their vivid imaginations to embark on amazing, epic adventures. In every episode, the backyard transforms into a new fantastic, photo-real landscape that serves as the backdrop for completely original, story-driven musicals.

Each 3-D CGI-animated episode is a journey into the kind of fantasy play that happens in every little kid’s mind. Every day they meet in their adjoining backyards to explore wherever their imaginations take them – be it a deep tropical rainforest, an enchanted castle, or a vast ocean.

In each fully realized adventure, “The Backyardigans” sing and dance to tango or tap, jazz or hip-hop, calypso or operetta, rockabilly or Irish jigs. They explore the whole wide world without ever leaving their backyards.


The World of 3-D Movies Free Online Book

World of 3-D MoviesThe latest free e-book in the Stereoscopic Displays and Applications conference Virtual Library is now publicly available.

The book is titled The World of 3-D Movies (1992) by Eddie Sammons.

The book is primarily a filmography of 3-D movies however it also provides an extensive history of 3-D Movies.

The electronic version of The World of 3-D Movies is made available in portable document format (PDF) and is readable with the free "Adobe Acrobat Reader". The downloaded file contains scans of all pages in the original book. You can read the book on-screen or print out selected pages. The full text of the book can also be searched for keywords and phrases. Copyright 1992 Eddie Sammons. All rights reserved. This copy of the book is made available with the permission of the author for non-commercial purposes only. Users are granted a limited one-time license to download one copy solely for their own personal use.

Titles of chapters in the book include

  • 3-D in the Beginning and Now
  • 3-D or Not 3-D
  • The Formats
  • The Movies - A Chronology
  • The Movies - The Filmography
  • Who Directed What
  • At Home With 3-D.
  • An errata list is provided at the end of the book.

The book is 209 pages in length and is provided as a fully illustrated and fully searchable 14.5mb downloadable pdf file.

Two other books are available for free download including Foundations of Stereoscopic Cinema (1982) by Lenny Lipton and Three Dimensional Photography - Principals of Stereocopy (1948) by Herbert C. McKay.

Steven Spielberg's Secret Project Could Take 3-D Inside the Movie
A technological breakthrough can take the viewer inside the movie, write John Harlow and Jonathan Leake

Steven Speilberg
Steven Spielberg, the most influential visionary in U.S. films, is involved in patenting what Hollywood has been dreaming of for decades, three-dimensional movies that can be viewed without using special glasses.

Spielberg, who pioneered the blockbuster with Jaws and computerized special effects with Jurassic Park, believes the technology for plain-view 3-D films has finally arrived.

In an interview with a Hollywood trade magazine, he let slip that he was involved in patenting a system that puts the viewer into the film "inside the experience, which will surround you top, bottom, on all sides."

He tells The Hollywood Reporter, "A good movie will bring you inside of itself just by the sheer brilliance of the director/writer/production staff. "But in the future, you will physically be inside the experience, which will surround you top, bottom, on all sides. "I've invented it, but because patent is pending, I can't discuss it right now."

If the technology wins acceptance, it will revolutionize cinemas, forcing them to tear out their traditional screens and replace them with giant plasma screens specially adapted to project Spielberg's 3-D images.

This could revitalize the film industry, which is faced with declining audiences and fierce competition from rival mediums such as advanced video games.

But there is one big question...will it work? Filmmakers have been experimenting with 3-D since 1903, and there have been a succession of over-optimistic claims that it is about to become a mainstream technology.

The first screening of a 3-D film for a paying audience came in June 1915 when a short film, Jim the Penman, was shown in New York featuring scenes from rural America. It was treated as a novelty and forgotten.

In the 1950s, there were more claims that 3-D had arrived with the releases of Bwana Devil, which depicted attacks by maneating lions, and The Creature from the Black Lagoon. But the format failed to take off.

Hollywood tried again in 1983 with Jaws 3-D, the third of four films about killer sharks. It famously ended with the shark's teeth emerging from the screen and going for the audience.

The film was a flop and since then even pornographers, obvious potential beneficiaries from 3-D, have been scared away by the technical issues and cost.

The key problem is that so far all 3-D formats needed viewers to wear glasses with a red filter for one eye and a green filter for the other. Some people find these cause headaches and disorientation. Doing away with the glasses is crucial to taking 3-D into the movie mainstream.

Spielberg's timing may be right, several big electronics manufacturers have recently demonstrated plasma screens that can project 3-D images visible to the unaided eye.

One of them, Opticality Corporation, recently demonstrated a 3-D screen that was 4.5m wide and 3m high, approaching the size of a cinema screen. It is believed Spielberg's potential patent describes a way of adapting such technologies to operate on the larger scale.

The essential requirement for all 3-D viewing is to create two slightly different images from any given scene and then project one into the left eye and the other into the right eye.

Until now this has been done using two cameras to film each scene. The two sets of images are then projected simultaneously, but the colored glasses worn by viewers mean the left eye sees the images from one of the films while the right eye views the images from the other. This fools the brain into thinking it is seeing a three-dimensional scene rather than a flat screen.

The new technology uses the same principle, but instead of two cameras it uses a powerful computer to split each image as if it were being seen from different perspectives. These images are then projected simultaneously out of the screen at different angles, by subdividing the screen with tiny strips of filter material.

Spielberg and other directors have been seeking a 3-D breakthrough for years. He recently linked up with James Cameron, the director of Titanic, still the most financially successful film in history, and George Lucas, creator of Star Wars, to lobby U.S. cinema managers to prepare for the "3-D revolution."

Lucas and Cameron are keeping their options open. Lucas has announced plans to produce 3-D versions of all six Stars Wars films. Cameron is making his next film, a science fiction epic provisionally called Battle Angel, in 3-D. However, all these will still require glasses.

In the end, technology may not be enough. Peter Guber, the producer of such films as Batman and Rain Man, said of the effort: "People don't go to the movies to admire the computer technology, the zeros and ones, but for the oohs and the aahs. Successful filmmaking always comes down to the fundamentals, a good story well told."

National Geographic Kids Prints 3-D Issue in September in USA and October in South Africa

National Geogrphic Kids 3-D issue  USA cover artNational Geogrphic Kids 3-D issue South Africa cover artNational Geographic Kids, a magazine that believes in reinventing the wheel in every issue and bringing the education of kids from the future to the present, printed their entire September issue in 3-D.

The magazine also be printed all their advertorials and advertisements in 3-D. Although the magazine can be read without the special glasses found in every issue, another dimension will become apparent when readers put them on, as National Geographic Kids looks into the future to find out what life will be like in 2035.

Kids can also look forward to the 30 cool things the future has to hold for everyday life in 2035 like: biscuits that are good for us, robots that do all our boring chores, what it's like to holiday in space, living in a techno world and clothes that mend themselves and are constantly repairable.

Fiona Thompson, Editor of National Geographic Kids magazine, says: "Magazines like ours that tackle technology and the future help kids think out of the box and get them excited about all that lies ahead."

National Geographic Kids is edited to entertain and educate kids ages 6 to 14. An interactive, multi-topic magazine focusing on the subjects of most interest to kids, National Geographic Kids covers animals, entertainment, science, technology, current events, and cultures from around the world. Regular departments include “Inside Scoop”, “Amazing Animals”, a kids' achievement feature; and a colorful seven-page “Fun Stuff” section devoted to challenging games, puzzles, comics and more.

Editor's Note: The National Geographic Kids magazine printed for South Africa dated October 2005 is the 3-D issue with slightly different cover art.

Fly Me To The Moon, the First Computer Generated Feature Film in Real 3-D begins production

nWave Pictures logonWave Pictures, one of the world’s largest suppliers of stereoscopic entertainment, recently started production on Fly Me To The Moon, the first computer-animated feature film to be conceived, designed and created in 3-D. Directed by nWave founder Ben Stassen and produced by company president Charlotte Huggins, Fly Me To The Moon centers on three tween-aged flies who buck the conventional wisdom that “dreamers get swatted…” and stow aboard the Apollo 11 flight to the moon. The film is a funny, heart-warming journey that includes a thrilling, edge-of-your-seat ride alongside astronauts Neil Armstrong, Buzz Aldrin and Michael Collins. The script was written by Domonic Paris, who will co-executive produce the film with Stassen through his company Illuminata Pictures. Producing for Illuminata are Paris’ partners Mimi Maynard and Gina Gallo Paris.

Fly Me To The Moon is the first feature length animated film conceived and created as a 3-D experience. “Recent advances in computer technology make it possible to convert 2-D films to 3-D,” says Stassen. “However, while converted films like Chicken Little and Monster House will be crucial to spurring the development of digital 3-D theaters, to fully use the potential of 3-D cinema, you must design and produce a film differently than you would a 2-D film. It’s a different medium. It involves more than just adding depth and perspective to a 2-D image. There’s a very strong physical component to authentic 3-D,” Stassen adds.

Stassen speaks from experience as nWave has produced nearly one quarter of all films ever made in 3-D IMAX™, including 3-D Mania: Encounter In The Third Dimension, Wild Safari 3-D and Haunted Castle. “Haunted Castle has attracted a half-million people to one venue in Berlin. It wasn’t because of the cast or the script. It was the experience of 3-D.” nWave’s films have generated over $150 million in grosses in less than 150 theaters, without the benefit of big stars or major marketing support. “That’s a clear indication of 3-D cinema’s appeal,” says Stassen.

nWave Pictures’ entry into feature filmmaking comes at a time when the industry is recognizing the value of 3-D digital projection to attract audiences to theaters. Along with the industry’s recent adoption of specifications for digital cinema have come 3-D film announcements from blockbuster directors George Lucas, James Cameron and Robert Zemeckis. “These are very encouraging signs that Hollywood is starting to pay attention to the 3-D revival spreading worldwide through the giant screen theater network,” observes Stassen. “The Polar Express benefited from a great 3-D IMAX™ version, which generated over $40 million of the film’s $283 million worldwide grosses on only 64 screens. That is phenomenal. It won’t take long for exhibitors to see 3-D as a formidable draw against home theater competition.”

By summer 2007, when Fly Me To The Moon is ready for release, nWave President Charlotte Huggins estimates, “there will be hundreds, maybe thousands, of digital theaters in North America capable of showing authentic 3-D along with over 200 IMAX™ theaters. The technology for displaying 3-D; whether in Imax™ 3-D or digital 3-D, has been perfected.”

Huggins notes that 3-D-CGI production technology has also continued to improve. “It is the perfect platform for creating a 3-D stereo film, and we have a cohesive team that has been developing and using this technology together since 1992. We know how to make it work.” Huggins adds, “This story offers the ideal environment for 3-D. Unlike scripts that are written with an in-your-face 3-D ‘punchline’ every few pages, Fly Me To The Moon has levels of elements and environments that lend themselves well to a compelling use of 3-D space throughout the story.”

Stassen hints at some of the visual techniques that will be used in Fly Me To The Moon by noting, “We will have different visions, not just a normal perspective but also ‘macrovision,’ where you see things from a fly’s perspective. To the flies in this film, the human environment around them appears gigantic. If a fly lands on a cup of coffee, it becomes a giant swimming pool. A head of hair is a dense forest. In ‘fly-vision 3-D,’ the ordinary is transformed into the extraordinary!”

nWave’s longstanding expertise with 3-D computer animation positions it to strongly compete in the growing marketplace for independently produced CG features. Huggins believes, “We can deliver Fly Me To The Moon at a reasonable budget of around $25 million.” The company is producing the film with in-house financing along with equity investors while seeking a distributor.

Stassen expects that distributors’ interest in 3-D will only grow as 3-D films from Robert Rodriguez, Zemeckis and Cameron arrive in the next couple of years. “It’s a natural evolution,” says Stassen. “While we are not suggesting that every feature film released in the future will be in 3-D, the pressure to create event movies in stereo will increase once audiences get a taste of good 3-D presentations in their local multiplex.”

Mary Lewis, former View-Master® sculptor continues to create artwork
by Cathy Zimmerman - Courtesy of The Daily News in Longview, Washington

Mary Lewis photo by  Bill Wagner
Sculptor Mary Lewis of Rainier corrects details on clay forms she carved last winter. The forms are the first step in a cast-and-mold making process that will result in bronze reliefs of the five Luminous Mysteries of the rosary, a commission for The Grotto in Portland.

Somebody should sculpt Mary Lewis's hands.

Strong, steady, agile, Lewis's hands started building toys during the Depression and have rarely rested since.

After decades devoted to carving, the Rainier sculptor has lost none of her feverish creativity. At 78, she recently completed a quintet of bronze reliefs depicting the five new mysteries, or meditation points, added to the rosary by Pope John Paul II.

The works were installed in September 2005 at The Grotto in Portland, where they join three other sets Lewis completed in 1989 for the 15 existing rosary mysteries.

A heart attack in June, not long after she had completed her work, scared Lewis but barely made her skip a beat. In early September she was bemoaning a bruise on her leg. It happened, she explained, when she "was up on the roof, fixing the chimney."

Cantankerous, bubbling with laughter, fretting over arthritis, the artist is moving on to a six-foot piece of walnut she'll carve into a calla lilly. She also wants to sculpt a new work, of a man she noticed lifting up his child at a carousel museum.

"His arms were around the child, and the child's legs were hanging out, like this," she said. "I got all inspired!"

Artists seem born to their work; they certainly don't retire from it as others do. Mary Lewis's mother wrote about her daughter in a letter saved by the artist, "Mary visited Esme Bath over the fourth for three days, which made her very happy and gave us a breathing spell. Then she began the playhouse project and wouldn't give me any rest 'til I allowed her to fence off the N. end of the back porch with sheets, living quarters. She works so hard she is dead at nite, so it is no rest for her nor any members of the family, but I do admire her tenacity and one-ness of purpose and she surely has ingenuity and skill for a 10 yr. old child!" Jessie Thayer Lewis, in a 1936 letter.

One-ness of purpose propelled Lewis to the study of stone carving, first at the University of Oregon and then in Syracuse, N.Y., where she earned an MFA and went on to serve as assistant to sculptors on the East Coast and overseas. She was mentored by two sculptors she reveres: Mark Sponenburgh at Oregon and Ivan Mestrovic at Syracuse, and still visits Sponenburgh at his home on the Oregon Coast.

For six years, Lewis sculpted the characters and scenes for View-Master® in Portland, which produced the plastic "stereo" viewers and slides that told three-dimensional stories for children. In 1976, Lewis left View-Master® and moved to the family property in Rainier. She worked for a time at the Lower Columbia College library, but most of her life has been consumed by carving.

The cozy house where she lives, built in 1958 and largely unchanged, looks through towering firs at the Columbia River. Lewis types on a tall Underwood manual typewriter, plays records on a phonograph and only recently surrendered to an answering machine for her phone. She has built a separate studio incorporating windows salvaged in Portland, and more recently, a free-standing gallery for her work.

In 1989, Lewis was commissioned to do 15 bronze reliefs for The Grotto, a wooded park and shrine run by Servite priests in Portland. The Catholic rosary (for garland of roses) is a loop of beads that designate certain prayers as the person goes around the loop. While the prayers are said, certain mysteries, or themes, are meditated on. Three sets of five mysteries each, the Joyful, the Sorrowful and the Glorious, existed until last year, when Pope John Paul II decided that another set was needed, the Luminous Mysteries. Lewis's work on the new mysteries sums up the artist in the same way her sculptures capture the essence of a beetle, a frog or the mother of Christ. "She happened to be visiting here," said the Rev. Jack Topper of The Grotto. According to Topper, Lewis insisted that the existing installations of the rosary reliefs in the shrine's peace garden would not be complete without bronze counterparts of the new ones. "I wasn't really sure if we were going to go head and get these as well," the priest said in late spring. "But she was determined; she didn't want anyone else to do them." Topper said he told the artist "at present, we have no money" for such a project. "She said, 'I'm sure that someone is going to come through and support it.' Before I knew it she was starting to work.

"It took some time, but there happened to be a family" named Eubanks, seeking to memorialize a son, Robert Eubanks, Jr., who had died. And so the funding materialized, the priest said, "with that conversation, and them showing interest, and Mary already working on it before I had had any contact with them." Lewis saw the work as fated from the start. "Little did the Pope know, he was giving Mary Lewis a new job," she said, chuckling. "Father Jack said they had no money, so I said I'd do it on faith. I knew I had to do it, and do it while I was able. I couldn't let someone else finish the series. "Father Jack, bless his heart, let me."

She was off, working so hard that she was "dead at nite," as her mother once wrote. Of course, to see Mary Lewis at work is to see her most alive. She gets started before noon and works late. A wood stove takes the chill off the studio, with its high ceilings. Dense firs filter the afternoon light.First, she draws. She had to interpret the Baptism of the Lord, the Wedding at Cana, the Proclamation of the Kingdom of God, the Transfiguration and the Institution of the Eucharist (communion). Lewis is a devout Episcopalian and does a lot of religious art. So the symbols flew: fish, grapes, sheaves of grain, a bird, a glorious sun.

Once satisfied with the designs, she met with the client for approval. When everything had passed muster, she prepared her work station: a tall vertical board in the middle of the studio that supports wood frames filled with oil-based clay. When the carvings were done, Lewis took photos for a final OK.

Then the five reliefs came down to lie on tables, where she began creating a series of plaster casts by first making a mold for each image, then pouring plaster into the molds the way you would pour Jell-O into a form to create its shape. "I have to break the mold off in pieces. If I make a mistake, I can patch it." She colored the plaster blue at one point, so she could see it as she chipped it away, leaving the white carving underneath. Lewis holds up a chisel. "I inherited these from my friend in Connecticut. Look at this lovely little tool. I love tools. I've loved them every since I was a child."

One afternoon, clusters of grapes begin to emerge. "I'm still working on them," Lewis said, "sanding them so they're round. You can do all sorts of patching and carving. This grape fell off. I had to attach it again. It's been a long haul, picking the blue out of the dove's nest. I'm a perfectionist." Still, she said, "I have to be careful that I don't touch them up so much that they're machine-like. It's the rough quality that gives them life." Lewis packed the heavy molds in crates designed and fabricated by her brother John. In her old Volvo station wagon, she drove them to a foundry in Boring, Oregon.

There, another complicated round of wax casting and latex coating and bronze pouring and firing took place. Lewis drove to the foundry again to inspect the bronzes, touching them up before she packed them off to Trovo Design in Portland, where Bob Thomas mounted each of the five in a blue-green steel frame.

Thomas and his crew transported the installation to The Grotto and bolted it in place, along the same path where Lewis's other works are positioned. Father Topper called the Luminous designs "remarkable." "I don't know that you'll find too many places that would include the Luminous Mysteries," he said. These new themes "bring out a different aspect" than the previous ones, he explained. "If you look at the Luminous, they're about the life of Christ while he was active the wedding feast and the first miracle, for instance," the priest said. "In a sense, they complete all of the mysteries."

Lewis's stone and wood carvings are at St. Stephen's Episcopal Church and St. John Medical Center in Longview, and in gardens and private collections. She taught in Lahore, Pakistan on a Fulbright Lectureship in 1958-59. She has installations in Connecticut, Boston and Sacramento.

The sculptor has shown her work in exhibitions from coast to coast, culminating in a retrospective at Lower Columbia College in 2000. Earlier this year, she was among Northwest artists juried in to the Works of Faith exhibit at the First Presbyterian Church in Portland, and she's included in the 2005 text,"The Sculpture Reference."

But in a long-running argument with herself, Lewis debates whether or not she has achieved what she might have. It's not about fame or money, said the artist, who has never married. There were times she was "flat broke," but she has survived "almost entirely from my work all these years. Don't forget, I've lived frugally. I've never borrowed from anyone. "What nags her is artistic fulfillment. "I just don't feel that I've achieved my full potential," she said. "I was interrupted, you see. When I was in Pakistan, Mother had a stroke and I was called home. "My sister was too old and my brother had died so I took care of the family trust. I worked in the two-story bank building in Boulder, Mont. for two summers to sort papers" after her father died, leaving Lewis to close out the gold and silver mines he operated.

The discussion, replayed over time, winds up the same. "I don't resent it; I think I put it into my work," Lewis said. "I don't care, really. I care about being able to work and have enough to pay my bills and help others." She lingers near the new installation at The Grotto, pointing out the effect of lowering sun as it skims a pond and reflects up onto the bronzes. It pleases her. She confides that she brought a cloth last time to clean fingerprints off the reliefs. "This is my legacy, I guess," she says.

Back home, she will set herself to tease the lilly from the walnut, and maybe after that, the father and child. She'll chip away with her lovely tools, working with the same tenacity that set her in motion on the back porch in 1936. Her mother would not be surprised.

3-D Film Festival at The Paramount CInema in New Zealand starts Dec. 4

House of WaxThe Paramount is proud to announce a major cinematic event, Wellington New Zealand’s first 3-D Film Festival featuring Vincent Price in House of Wax and Grace Kelly and Ray Milland in Alfred Hitchcock's Dial M For Murder.

House of Wax has not been seen in New Zealand in its original 3-D format since first release in 1953 and Dial M For Murder has never been seen in 3-D before in New Zealand. This is a historic opportunity to see two cinema classics, restored, exactly as their creators intended them during a two week engagement only.

These films are being presented in the superior StereoVision process that uses 3-D glasses with polarized lenses rather than the cheap cereal-packet, red-green lenses most of us will have experienced.

The two films will roll on the silver screen at the Paramount starting Thursday, December 4. Details of the technical process and links to more film information, can be found at www.paramount.co.nz.

The Paramount Cinema has been in operation since 1917 at 25 Courtenay Place in Wellington, New Zealand.

Adventures in Animation 3-D playing at large format theatres

Adventures in Animation 3-D  logoMaria in Adventures in Animation 3-D  © 2002-2004 TFX Animation, Inc.Have you ever wondered how Gollum in Lord of the Rings and all the characters in The Polar Express are created? Adventures in Animation 3-D is a large format 3-D film that transports you into the awe-inspiring world of virtual actors. The animated, computer-generated, three-dimensional characters are so true-to-life they may be destined to be the movie stars of tomorrow.

Colorful virtual hosts Phil and Maria will lead you through Adventures in Animation 3-D, using the giant-screen format's multi-story crystal-clear images, super-powerful digital sound and realistic 3D to full advantage as they showcase the creation of virtual actor Slim, beginning with his "birth" as a single polygon. When Slim is "complete," big ego and all, Phil and Maria set him loose his first film set, a 1930s boxing arena filled with cheering fans. Slim's role is as a featherweight boxer convinced by a shady boxing promoter to fight heavyweight Killer, a mountain of muscle who has 43 wins, all by knockout, under his belt.

Will Slim be a success in his first role?

And, equally important, what is the answer to Maria's "big question": "Will virtual actors ever replace real actors?" Like Gollum in Lord of the Rings, all the characters in Adventures in Animation 3-D are animated with motion capture via real actors.

See this astonishing 40-minute animated adventure and experience its one-two punch: a behind-the-scenes look at the creation of a virtual actor and front-row seat for the break-through role of his career.

When the lights go down, and the film begins, you will be amazed, inspired and just plain "wowed!" by Slim and the lovable cast of Adventures in Animation 3-D.

In-Three / IMAX Trial Dates Pushed Back
by Joseph L. Kleiman - Courtesy of www.worldentertactive.com

In-Three Inc. logo

In an October 25 order, Judge Florence Cooper reestablished the court dates for IMAX vs. In-Three. The new dates are as follows:

  • Markman Opening Briefs: March 7, 2006
  • Markman Responsive Briefs: March 21, 2006
  • Discovery Cut-Off Date: July 11, 2006
  • Motion Cut-Off Date: Nov. 6, 2006
  • Pre-Trial Conference: Jan. 8, 2007
  • Jury Trial Date: Jan. 30, 2007

For the time being, all discovery and other procedures in the case have been stayed pending a private mediation scheduled for Dec. 19, 2005.

Sources have confirmed that IMAX, in addition to entering mediation in the In-Three case, has entered into a settlement phase with New England public television station WGBH regarding accounting discretions and copyright violations on WGBH’s large format production Island of the Sharks. IMAX has also just completed settlement of their only other outstanding case in Federal court, the wrongful termination lawsuit of former Sonics executive Mark Easter.

Article © 2005 Joseph L. Kleiman/Amanda Gardner
This article may not be reproduced in whole or in part without expressed written permission of the owners.

Will 3-D Save the Day for Hollywood

In-Three lnc. logoCost and quality issues associated with 3-D, whether it be stereoscopic live-action production, the cost of re-mastering 2-D films to 3-D in postproduction or sustained 3-D projector brightness were among topics discussed during a panel at the Entertainment Technology Center's Digital Cinema Lab in Hollywood.

Whether 3-D projection will be a key driver in the conversion to digital cinema remains to be seen. But in the meantime, 3-D is being looked at as a man of the hour for a lagging boxoffice.

In an opening presentation, moderator Marty Shindler cited collapsing DVD windows, lame movies, pricey tickets, incessant in-theater ads and competing forms of media as reasons for theatrical exhibition's downturn.

In the face of the decline, however, 3-D has shown real promise, panelists said. One of the bright spots on the exhibition landscape in recent months was the boxoffice performance of The Polar Express in Imax 3-D.

Combine public interest with recent advances in digital cinema and 3-D technologies, add filmmaker and studio interest, and you've got fertile ground for 3-D exhibition, panelists said.

Exhibition was not represented at the event, so such ongoing behind-the-scenes issues as heated negotiations over costly and long-term contracts between theater owners and equipment vendors, pricey and time-consuming projection booth rebuilds, silver screen installation and the accessories needed for 3-D viewing went largely unaddressed.

However, a few other interesting wrinkles in the conversion to 3-D were raised. In-Three president and CEO Michael Kaye, Real D co-founder and CEO Joshua Greer and Cobalt Entertainment founder Steve Schklair discussed the rapid evolution of auto-stereoscopic televisions for the home that do not require 3-D glasses.

Attendees at IBC in Amsterdam last month witnessed the first live broadcast of auto-stereoscopic content. 3-D systems for the home could be in stores as soon as Christmas 2006, but, as with HD displays, there might not be much original 3-D content available for the screens.

Peter Anderson, an Academy governor and expert in specialized cinematography, had photographed much of the material displayed at the lab Thursday. He argued that the material being shown was not even close to what he had originally shot, saying the severe color loss, overcompression of files and dimly lit material raise all kinds of questions about the sustainability of quality 3-D in theaters. He wondered what will happen when 3-D material ends up on screens not as well nursed by tech experts at the d-cinema lab.

Panelists had varied explanations for the degraded 3-D images. Texas Instruments' Glenn Kennel explained that the ETC screen was too big at 50-plus feet and that 3-D ideally should be presented on screens ranging from 35-40 feet, a fact that the Walt Disney Co. is well aware of with the rollout of Chicken Little on 85 screens next month.

"No matter how you do 3-D, you lose light," said Real D's Greer, noting that ideally 3-D would be projected with 14-foot lamberts, though at the lab people were only seeing three lamberts worth of brightness. Because of 3-D projection lenses and polarization, which darken the image, in addition to the long throw to the screen, many 3-D projections are too dark and show severe color space distortions.

As distributors and exhibitors prepare for wider 3-D releasing, these are issues that need to be recognized and dealt with if the format is to live up to its promise as the savior of theatrical exhibition.

Real D Deal Deploys Digital 3-D Cinema to top theatre circuits in U.S., Canada and Mexico
Screens commit to REAL D Cinema platform

RealD logoDriving an historic rollout of digital cinema in North America, REAL D has reached five-year licensing deals with 24 theatre circuits in the United States, Canada and Mexico for the initial installment of REAL D Cinema systems for the exhibition of digital 3-D content. Eighty-five screens in the United States and Canada and four screens in Mexico will offer feature presentations in the REAL D Cinema format starting with the Nov. 4, 2005 launch of Disney's Chicken Little, the highly anticipated, first-ever CG animated feature from the studio.

AMC Theatres, Century Theatres, Dickinson Theatres, Harkins Theatres, Loews Cineplex Entertainment, Muvico Theaters, National Amusements, Rave Motion Picture Theaters and Regal Entertainment Group are among the U.S. and Canadian based theater chains adding REAL D Cinema systems to venues in top markets. CINEMEX, Cinepolis and MMCinemas will offer REAL D Cinema on screens in Mexico City and Monterrey, Mexico. A complete list of REAL D Cinema partners is below.

"REAL D Cinema is the next step in the evolution of cinema," said Michael V. Lewis, Chairman, REAL D. "It not only provides our exhibitor partners with premium entertainment experiences that can't be duplicated at home, but it also equips theaters with the latest digital entertainment capabilities and expands their opportunities to deliver new and unique programming."

"Digital 3-D cinema is the future, and theater owners looking to differentiate and improve the movie-going experience are choosing REAL D Cinema for its quality images, ease of use and affordability," said Joseph Peixoto, President, Worldwide Cinema, REAL D. "REAL D Cinema is the first system capable of capturing a sizeable cinematic footprint, making 3-D a mainstream reality."

REAL D will announce additional exhibition partners in the coming months as the company works towards its goal of equipping more than 1,000 screens globally with REAL D Cinema systems over the next two years to accommodate the future release of 3-D content, including motion pictures and live events.

REAL D Cinema systems adhere to the technical specifications for theatrical digital equipment outlined by Digital Cinema Initiatives, LLC (DCI), allowing for any compliant digital system to be upgraded to a REAL D Cinema system. REAL D Cinema systems comprise several components, including a specially treated movie screen; REAL D Cinema glasses; and a REAL D Cinema Z-Screen lens that mounts in front of the digital projector, enabling the projector to show 3-D. Customized software by REAL D integrates the components to deliver a flawless 3-D movie experience.

Exhibitors are choosing REAL D Cinema systems for their ability to play either digital 2-D or 3-D content using the same projector, and for REAL D Cinema's 3-D glasses, which are easily stylized and can be taken home by the audience as souvenirs.

"REAL D Cinema is the first truly transforming technology to meaningfully enhance the movie-going experience," said Tom Stephenson, President and Chief Executive Officer, Rave Motion Picture Theaters. "Digital cinema is nothing without 3-D. 3-D is the killer app for digital cinema."

"We're enthused to work with Disney and REAL D to rollout this exciting next step in exhibition entertainment," said Tony Kerasotes, Chief Executive Officer, Kerasotes ShowPlace Theatres.

"We are very excited with the recent partnership of REAL D Cinema and MegaPlex Theatres," said Dale Harvey, General Manager, MegaPlex Theatres, part of the Larry H. Miller Group. "The exceptional pairing of REAL D Cinema's digital and 3-D technology will give our movie audiences a unique experience and more reasons than ever to see Hollywood's latest movies at MegaPlex Theatres. We are looking forward to our first 3-D show of `Chicken Little' on November 4th."

The following U.S. and Canadian theater circuits and independently owned theaters will be equipped with REAL D Cinema systems:

  • AccessIT's Pavilion Digital Showcase Theatre
  • AMC Theatres
  • Celebration Cinema
  • Century Theatres
  • Cineplex Galaxy LP
  • Classic Cinemas
  • Crown Theatres, LLC
  • Dickinson Theatres/Midwest Cinema Group
  • Harkins Theatres
  • Kerasotes ShowPlace Theatres, LLC
  • Loews Cineplex Entertainment
  • Malco Theatres, Inc.
  • Mann Theatres
  • MegaPlex Theatres, Inc.
  • Muvico Theaters
  • National Amusements
  • Premiere Theaters, LLC
  • Rave Motion Picture Theaters
  • Regal Entertainment Group
  • Santikos Theatres

Select screens at the following Mexican theater chains will be equipped with REAL D Cinema systems:

  • Cinepolis
  • MMCinemas

DDD Launches 3-D TV Set Top Conversion Box

DDD logoDDD Group, the 3-D software and content company, today announces the introduction of the TriDef® Vision+ 3-D set top box (Vision+). Vision+ automatically converts most popular consumer video formats to 3-D as they are watched, allowing any broadcast, DVD and videocassette content to be presented in 3-D on the latest 3-D displays and projection systems.

The delivery of the Vision+ set top box represents the final milestone in a £140,000 development agreement with Arisawa Manufacturing Co., Ltd. (Arisawa), announced in late 2004. By combining the real time 3-D conversion capabilities of the Vision+ with the large 30" 3-D LCD displays developed by Arisawa's optoelectronics division, Arisawa and DDD have delivered an efficient and effective solution for mass-market 3-D television.

Using Arisawa's innovative 3-D optics, the flat screen 3-D televisions are capable of displaying conventional 2-D pictures as well as 3-D. When the viewer decides to watch in 3-D, they simply activate the Vision+ set top box using their remote control and put on a pair of 3-D glasses. The system then delivers a 3-D image from any viewing position in the living room with the same clarity and quality as the latest 3-D digital cinemas.

In addition to the real time conversion feature, the Vision+ also supports the playback of specially made 3-D movies. This yields an important in-home distribution channel for the latest generation of Hollywood 3-D movies that are in production for the new 3-D digital cinemas that are presently being opened around the United States.

The Vision+ is compatible with DVD, video and broadcast standards used in the United States, Japan and Europe. Vision+ also supports twin projectors allowing it to be used in trade show and professional/educational venues where big screen 3-D is required for large audiences.

Both Arisawa and DDD are now actively engaged in presentations and discussions with leading flat screen display manufacturers with the goal of licensing the combined solution for mass-market 3-D television.

"Vision+ represents another substantial achievement for our company," said Chris Yewdall, Chief Executive of DDD. "DDD's real time 3-D conversion solutions have been instrumental in our recent agreements for PC and mobile telephone solutions while Vision+ now allows us to expand the 3-D viewing experience into more popular consumer products including 3-D flat screen television. We are very pleased with the visual quality that we have achieved in conjunction with Arisawa and we are now jointly focused on securing mass market licensees for our combined solution."

"We are excited by the recent reaction to the combined Arisawa/DDD 3-D television solution," said Dr. Sanji Arisawa, President and Chief Executive Officer of Arisawa. "We are seeing increasing interest in consumer 3-D television and we expect that this easy to use solution will demonstrate that the television market is now within reach for our prospective licensees."

DDD Awarded Key Korean Patent Covering 2-D to 3-D Conversion

DDD logoDDD Group, also known as Dynamic Digital Depth, announced that it has received notification of allowance from the Korean patent office of its key "Dynamic Depth Cueing" (DDC) technology. DDC is a core DDD technology that enables existing photo, film or video images to be converted for display in stereo 3-D.

The new Korean patent extends DDD's coverage of technologies that allow the conversion of existing 2-D content libraries to 3-D and their delivery in a format that remains compatible with today's 2-D screens. The DDC patents enable a wide range of mass market 3-D applications for viewing on 3-D 'without glasses' display screens.

DDC regenerates 3-D information that is not recorded when a conventional film or video camera is used. Once the 3-D information is recreated, it is then used to manipulate the underlying 2-D image, allowing 2-D images to be transformed to 3-D for a wide variety of 3-D display formats ranging from large format IMAX films to the latest generation of mobile telephone 3-D displays.

Dr. Julien Flack, Chief Technology Officer of DDD commented, "The approval of DDD's key 2-D to 3-D conversion and transmission patent in Korea is an important step since so many of the emerging 3-D display technologies are being developed in Asia. The fact that DDD's content solutions are protected by a large international patent library is a becoming an increasingly relevant factor when our consumer electronics and display partners are considering the legal implications of launching their 3-D products in various markets."

3-D Center of Art and Photography present an exhibition of 3-D advertising and Further 3-D Sea Adventures Part 2

3D Center of Art and Photography  logoEach month, the 3-D Center of Art and Photography features different featured artists provide a glimpse into the contemporary world of 3-D. Original contemporary art may be viewed and purchased. Daily 3-D slideshows allow the visitor to slip into the amazing world of depth.

Interactive displays explain how we are able to see depth and create a 3-D image on a flat surface. Stereocards like those that entertained our grandparents are available for viewing, and only a few steps away a computer station allows visitors to see another modern approach to seeing in 3-D.

Showing Nov. 10 through Dec. 31 at the center:

3-D advertising example featured in the John Dennis exhibit being held at the 3-D Center of Art and PhotographyThe Deep Pitch
On the gallery walls of the 3-D Center of Art and Photography , John Dennis, Editor of Stereo World magazine, has assembled an exhibition of advertising done in 3-D. You won’t want to miss these ads, dating from the 1930s to the present.

A wide variety of products have been advertised in 3-D ranging from beds to beer and from cars to cattle. Radios, cameras, popsicles, refrigerators, towels and more have also appeared in various 3-D image formats, and some of the more interesting or strange will be included in this exhibit.

Much of the stereoscopic art created for these promotions has been among the best to be found, furthering both popular and commercial interest in 3-D and aiding the careers of the artists involved, while some is bad to the point of being unviewable, with presumably the opposite effect.

Two broad categories define the examples to be found in the exhibit. The first includes advertisements published or distributed to a mass audience to boost the retail sales of a product or service. The second includes promotions aimed at retailers or distributors by manufacturers, promising better sales or profits with the help of often elaborate, catchy 3-D images, frequently accompanied by free viewers in custom packaging.

Not included in the exhibit are 3-D images distributed with commercial advertising on the back or outside the image, but with images not related to the product. Prime examples are the British Cigarette Card series and some rare 19th century stereoviews. Also not included are ads for 3-D cameras, viewers or pictures, most of which were unfortunately flat but could fill a separate exhibit.

Further 3-D Sea Adventures, Part 2
3-D photo by John Roll featured in a slide show exhibit being presented at the 3-D Center of Art and PhotographyThe hourly slide show allows viewers to experience underwater creatures and vistas in captivating 3-D! Come see the continuation of John Roll’s love of deep-sea stereo in Further 3-D Sea Adventures, Part 2.

Here is your opportunity to see the beauty and majesty of ocean creatures without getting wet! The show is a breathtaking look into the sea.
John is an Interventional Neuroradiologist from Portland . He and his wife, Dace, have traveled extensively. John enjoys trying to use various camer a systems, depending on the subject matter. This has led to many modifications and experiments with equipment. He is a part of a small group of underwater stereo photographers. The peculiar demands of taking good images underwater have led to his development of his own set of cameras and housings.

His stereo photography is not limited to underwater subjects and his shows have been presented at events for the National Stereoscopic Association and International Stereoscopic Union. Many have been award winning presentations and all have been a visual delight. His wife, Dace, is the membership treasurer of the International Stereoscopic Union. She shares his enthusiasm for stereo photography and often helps find music and offers advice about the choice of images for the shows.

The 3-D Center of Art and Photography is located at 1928 NW Lovejoy in Portland, Oregon. Hours: Thursday through Sunday, 1 to 5 p.m. First Thursdays, 6 to 9 p.m.

Journey to the Center of the Earth in 3-D

Journey to the Center of the EarthEmpire Magazine is reporting that Walden Media, one of the production companies currently working on The Lion, the Witch and the Wardrobe, is planning an update to the class story Journey to the Center of the Earth.

The new movie will feature a modern day father/son team who discovers that Jules Verne’s novel was not fiction.

The new film will reportedly be shot only in 3-D, and is aiming for a wide release, hoping to pull in 3,000 theatres.



The Ant Bully is 3rd IMAX 3-D Adventure

The Ant Bully by John Nickle book cover artIMAX Corporation, in association with Warner Bros. Pictures, Playtone Productions, its principals Tom Hanks and Gary Goetzman and John A. Davis of DNA Productions, announced that The Ant Bully, an animated CGI film from the director of the 2001 box office hit Jimmy Neutron: Boy Genius, will be released simultaneously in IMAX 3-D and conventional 2-D format on Aug. 4, 2006.

The Ant Bully is directed and adapted by John A. Davis, writer and director of Jimmy Neutron: Boy Genius, as well as Santa vs. The Snowman 3-D , which was released in IMAX 3D in November 2002. Tom Hanks, Gary Goetzman and John A. Davis produce, and Keith Alcorn executive produces. The Ant Bully is based on a book by John Nickle, which tells the tale of a young boy who floods an ant colony with his water-gun, and is magically shrunken down to insect size and sentenced to hard labor in the ruins. Before returning to half-pint stature, he comes to appreciate the selfless nature of the ants and learns a valuable lesson about tolerance and empathy. The Ant Bully is based on a beloved book which teaches kids important life lessons in an entertaining way.

The film will be voiced by an all-star and Academy Award-winning cast, including Nicolas Cage, Julia Roberts Meryl Streep, Paul Giamatti, Lily Tomlin, Cheri Oteri, Alan Cumming, Regina King, Ricardo Montalban and newcomer Zach Tyler Eisen.

"The Ant Bully will be our third adventure in IMAX 3-D ," noted Gary Goetzman, producer of The Ant Bully. "It adds unique dimension to the story and presentation." The film will be digitally converted into IMAX 3-D and feature IMAX DMR (Digital Re-mastering) technology. The picture marks Playtone's third IMAX film project and Warner Bros. Pictures 10th film commitment to IMAX. Warner Bros. Pictures will be the exclusive distributor of The Ant Bully to IMAX theatres worldwide.

The Polar Express in IMAX 3-D to return to 62 Screens on Nov. 23

The Polar ExpressThe Polar Express in IMAX 3-D returns to large-format theatres beginning November 23 in select IMAX, IMAX Dome and IMAX 3-D Theatres on screens up to eight stories tall with 12,000 watts of digital surround sound.

The Polar Express in IMAX 3-D is the first full-length feature ever converted into IMAX 3-D.

The Polar Express, a Warner Brother holiday themed film based on the classic Caldecott award-winning children's book written by Chris Van Allsburg, is directed by Oscar® winner Robert Zemeckis and stars two-time Academy Award® winner Tom Hanks.

Using state-of-the-art CGI and stop-motion photography to create a unique blend of realism and fantasy, it tells of a doubting young boy who takes an extraordinary train ride to the North Pole and embarks on a journey of self-discovery that shows him that the wonder of life never fades for those who believe.

Starting Nov. 10, Warner Brothers is having a "Wish it and you can Win It" sweepstakes on the official The Polar Express Web site, where you could win up to $10,000.

Jefferson Stereoptics View-Master® Auctions Nov. 22 and Nov. 24, 2005

View-Master 3M reel and viewer.One of the best places to find View-Master® and other 3-D items for sale is Jefferson Stereoptics regularly held View-Master® and stereoview auctions conducted by John Saddy. The latest collection of View-Master® goodies goes on the auction block on Tuesday, Nov. 22, 2005, featuring lots 1 through 299. The second part of the auction concludes on Thursday, Nov. 24, 2005, with lots 300through 598.

Subscribers receive John's catalog several times a year. Cost of the subscription pays for printing the catalog and postage to mail it. Each issue of the printed catalog includes photos of some of the most sought after 3-D items featured in each sale.

Some of the interesting and rarity items in the November auctions:

  • Lot 219 - Lucky Luke De Daltons Breken Uit (Cartoon) (Euro-GAF#2, B455) Dutch language. Minimum bid $75.
  • Lot 265 - Lake Geneva (S6, C133) This is an extremely rare item, and this is a prototype packet. It reads "stereo pictures" superfluously at the bottom right, which is crossed out in pen. There are also green pen guidelines over the sky in the upper right area of the cover indicating the factory wanted the text moved more to the right. These markings would also be made at the Belguim factory. Inside are reels #2020 (number is crossed out and replaced with C1331), #2026 (crossed out and replaced with C1332) and #2028 (crossed out and replaced with C1333). Titles match the back of the packet. Other than the markings, reels are about excellent. The packet has more cross outs on the back, and some tape on the back of the packet.The first two reels have been red rubber stamped "SAMPLE, NO COMMERCIAL VALUE." Minimum bid $50.
  • Lot 301 - Model 11 Space Viewer, black, sealed in original Disney's The Black Hole packaging. The cardboard handle is somewhat creased, otherwise, all seems mint. One of the Black Hole reels is in the viewer and one scene can be viewed. Minimum bid $150.
  • Lot 536 - Silver Model K VM Viewer. This was only available at the Epcot Center for a limited period. Black advance knob. Minimum bid $200.
  • Lot 560 - VM Single Reel Toyko and Mount Fujiyama, Japan (1949) Negligible wear on the reel. There is some soil on the back of the left cell of image #6. This detracts from viewing. The soil may be removeable but John hesitates to try on a consigned item. Very Rare! Minimum bid $35.
  • and much more

The auction items are also listed on John's Web site at www3.sympatico.ca/john.saddy.3d/. The Web site is easily navigated by topic. All lots are scanned and on the Web site. Each item is grouped in areas of interest such as View-Master® packets USA and Canada or View-Master® packets Television and Movies and so on. You will need to register on the site in order to place a bid online.

John grades each item and includes elaborate descriptions, too. Unlike eBay, sniping is not part of the equation in John's auctions. Lots are closed with a very liberal waiting period. Beginning at the closing time, after 10 minutes with no bids or inquiries, all lots are closed together.

You can contact John via an e-mail link on his Web site to find out about subscribing to the catalog. Jefferson Stereoptics is located in London Ontario, Canada.

Association of Moving Image Archivists forms 3-D Moving Image Group
First meeting is Dec. 2 at the AMIA Conference in Austin, Texas

Association of Moving Image Archivists logoThe Association of Moving Image Archivists (AMIA) has formed a new 3-D Moving Image Group. The group's first official meeting will be at the AMIA Conference from 6:30 to 7:30 p.m., Friday, Dec. 2, 2005, in Room 402 of the Hilton Austin at 500 East 4th Street Austin, Texas. The 3-D session is part of the larger AMIA 2005 conference taking place from Nov. 30 through Dec. 3.

3-D filmstripThe 3-D Moving Image Group was created to promote issues relating to preservation, archiving, storage and access of 3-D films and video. According to Kathleen Fairweather, "Our main focus is on issues relating to the preservation and access of commercial, theatrical and home-produced 3-D film and video. This includes studio and independently produced feature length theatrical films and documentary, factual, narrative, experimental film and video art, electronic art and all works produced in the digital realm including Web-based art and newly emerging technological art. Independent works created for kiosks, trade shows, theme parks, Large-format and the public television market are also included."

The Association of Moving Image Archivists (AMIA) is a non-profit professional association established to advance the field of moving image archiving by fostering cooperation among individuals and organizations concerned with the acquisition, preservation, exhibition and use of moving image materials.

AMIA's members range from those who work solely with moving images to organizations where moving images are only a small part of their collection to individuals who want to protect their personal collection, home movies or small gauge or video, to film buffs concerned with losing our visual heritage.

For more information e-mail Kathleen Fairweather at kfairweather@verizon.net.

3-D Auction Results

Here are a few auction results on 3-D items from the past month.

Nightmare Before Christmas lenticular poster
Realist cameras and accessories

A lenticular 3-D poster for the movie A Nightmare Before Christmas sold for $905.76 with six bids.

A pair of Stereo Realist cameras, one f/2.8 and the other f/3.5, with a Steinhill-Munchen Stereo Redufocus lens in case, filter set, film identification unit and Realist Mounting Kit sold for $575 with 13 bids. The well known Dr. T was the winning bidder.

Bwana Devil 3-D 3-sheet
Cease Fire 3-D 3-sheet

An original vintage theater-used folded three-sheet movie poster (measures 41" x 81") from 1953's 3-D film Bwana Devil sold for $501.99 with 15 bids. The poster touted "The world's first feature length motion picture in Natural Vision 3 dimension. A lion in your lap! A lover in your arms!" This three-sheet was printed in two sections.When the studios began making posters, they could only print sizes up to 27" x 41". They printed three sections of the smaller size that could be combined to form the larger poster. From the early 1930s through the 1980s, technology allowed for three-sheets to be printed with two sheets. In the 1970s some three-sheets were printed with a single three-sheet-sized piece.

An original vintage theater-used folded three-sheet movie poster (measures 41" x 81") from 1953's 3-D film Hal Wallis' Cease Fire sold for $32.58 with nine bids. The Owen Crump 3-D Korean War military documentary melodrama "Produced and photographed entirely on the battlefields of Korea in 3-D in cooperation with the Department of Defense" starring Roy Thompson, Henry Goszkowski and Richard Karl Elliott. This three-sheet was printed in two sections. It looks like the theatre taped over the printed area about the film being in 3-D. Our guess is that the poster came from a theatre not equipped for 3-D projection.

3-D Pinball flyer
TDC Project-or-View

A Williams' 3-D Showtime Pinball Machine flyer from 1958 is currently at the asking price of $80 in one of the eBay stores. It looks like the pinball company was cashing in on the 3-D craze a few years late. It does not appear that the pinball machine had any 3-D features other than the name.

A TDC Project-or-View Stereo Model 132 sold for $755 with 35 bids. The sale included the original "Temporary Operating Instructions" dated December, 1953. On the last page was a tear-away coupon to send in to claim your copy of the real instuctions, as soon as they became ready.

Lake Tahoe stereo view
Mark Twain stereo view
Union Pacific RR stereo view

A Lake Tahoe, California Central Pacific RR stereo view by C.R.Savage sold for $667.89 with 20 bids. You can see several structures and a two masted schooner on the shores of Lake Tahoe with the Custom House sitting at the end of a short pier. Under strong magnification there is a large "Billiards" sign visible above the front entrance and also at the very top of the building ,a sign for the "Post Office" with "Lake Tahoe Custom House" below.

A Samuel Clemens, aka Mark Twain, stereo view sold for $406 with 17 bids.

The view is Keystone View Company. #V34494 titled Mark Twain at Work. It shows the humorist writing while sitting in bed.

A Union Pacific Railroad stereo view sold for $599.89 with nine bids.

The west from Omaha stereo view shows a train with many dozen of folks standing on the railroad tracks.

William Henry Jackson stereo view

A rare stereoview of William Henry Jackson at his photographic camp in Utah sold for $787.77 with six bids.
The image shows his camera, plate boxes and darktent clearly visible. Titled in period script on the front of the mount, possibly in Jackson's own hand, "Camp scene in Echo Canyon showing formation of rocks" and "110. Camp in Echo Canyon" on the back of the mount. Two wooden wet-plate or chemical boxes are seen to the right of the tent. Next to Jackson is his large-plate camera with its lens facing the viewer. His large portable darktent is seen behind his sleeping tent and his rifle is leaning up against the tree. Circa April, 1869, this view is numbered in the right negative (with 110 scratched into the dark blotch on the tent).

The book Lens on the West describes how Jackson built this large box covered in black calico to transport his photo equipment and to use it to develop his negatives and prints. This book and Picture Maker of the Old West discuss Jackson's 1869 trip to Utah from Omaha. Picture Maker (page 28) states "He set up his tent in Echo Canyon beside the railroad tracks, traded pictures of train crews for free rides...and waited...for chemicals to be sent from Salt Lake City." Interestingly, this description may explain the green mount. Both local Mormon photographers, Savage and Carter used green mounts at this time and Jackson may have purchased some from the same supplier.

There exist two versions of Jackson in his photo camp in Echo. The first version is the view that was auctioned. The other view was on a mustard color mount with Jackson's imprint, but without the manuscript title. The second version shows the same photo camp, but in it Jackson is holding a negative. It does not show his camera. Jackson is wearing the same clothing in both views and it is clear that both were taken around the same time.

The writing on the view being auctioned may be in Jackson's hand. His art sketches from the 1800s are reproduced in Picture Maker of the Old West and many have his written captions. The writing style appears very similar and the description of the landscape is similar to his sketch descriptions. Jackson left Utah just before the Joining of the Rails Ceremony uniting the Central Pacific and Union Pacific Railroads. He returned to Omaha to get married on May 10, 1869, the exact day of the Railroad Ceremony. The back of the mount has a label imprinted "Barkalow Bros. & Co...Omaha, Nebraska."

A stereoview of, and by, perhaps the most important western photographer of the era. Jackson photographed the Hayden Expedition and other U.S. Geological Surveys, Yellowstone National Park, railroads, Colorado, Utah, New Mexico, etc. and Indians.

Custer's Expeditions stereo view

A Custer's Expedition stereo view sold for $400 with 15 bids.
This is View No. 854 - Custer's Expedition by W.H. Illingworth. Illingworth was the photographer who documented General Custer's 1874 expedition into the Black Hills to map the territories and scout for gold. This one shows General Custer in the foreground, mounted on his horse and proudly leading this major expedition. There is a wooden topped wagon by itself in the center just behind him. The canvas covered wagons are lined up in rows behind that facing the camera, There must be 80 or 90 wagons showing and more behind them that you can' t really see going back over the horizon. The back has the list of the views in this series and a short description of the Black Hills territory.

East Temple Street, Salt Lake City stereo view

A Salt Lake City stereo view showing East Temple Street sold for $676 with eight bids.
A street scene of Salt Lake City,Utah, by the great western photographer C.W. Carter titled "57 East Temple Street" from his "Carter's Salt Lake City Views" series.There are covered wagons, people, horses and many businesses with their signs clearly visible in this western street scene.But the highlight is Carter's Photograph Gallery smack dab in the middle of the scene. The backmark also that advertises Carter's "View Emporium" as adjoining Well's Fargo & Co.

Detail of stereo factory stereo view Stereo factory stereo view

A stereo view of a Stereo View Factory sold for $336.55 with 11 bids.
This intriguing stereo view shows the interior of a stereo photo manufacturing premises. You can see every aspect of the process. The view is hand tinted. The equipment, the girl operators in victorian gowns, baskets full of off cuts and sweepings all over the floor. A young man in the foreground seems to be holding a wooden mallet. The cards hanging in the background are fascinating.


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