National Stereoscopic Association
2005 Convention is July 13 through 18 in
full agenda awaits attendees to the annual National Stereoscopic
Association (NSA) Convention being held July 13 through 18,
2005, in Irving, Texas. Many opportunities to shoot some great
3-D photos will be available to NSA members during the event.
The Trade fair will be held on Saturday and Sunday and will
have all of the best Stereocard and Stereo 3-D vendors from
all over the country. There will be thousands of stereocards,
modern and vintage stereo camera equipment and other 3-D related
The Stereo Theater is the place to see stereo presentations
by some of the best stereo photographers shooting today. There
are traditional stereo slide presentations as well as a special
digital stereo theater program.
Wednesday July 13
10 a.m. to 1 p.m. IMAX 3-D Film Festival
The world's first Large Format 3-D Film Festival will be held
on Wednesday, July 13, and registered convention participants
can attend a free screening of several Large Format 3-D films
to kick off The Large Format 3-D Film Festival. Free transportation
will be provided. The IMAX Cinemark 17, 11819 Webb Chapel
Rd. Dallas, TX, is about 12 miles from the Hotel.
The planned films are
Ocean Wonderland 3-D
Aliens of the Deep
A Better Mousetrap
Thursday July 14
11 a.m. Digital Stereo Slideshows - John Hart
Birds of a feather and organization meetings:
2 p.m. Medium Format enthusiasts.
4 p.m. View-Master meeting
4 p.m. APEC III Meeting
5:30 p.m. SSA Meeting
6 p.m. DeGolyer Library Reception
The DeGolyer Library will be hosting a special event for Stereo
Card collectors on Thursday, July 14. The library has an excellent
collection of stereocards and will be presenting the exhibit:
Two x Two: the Stereograph Collections of Banks McLaurin,
Jr. and Robin Stanford. Mrs. Stanford will be there to
say a few words about her collection and to discuss the exhibit.
Light hors d'oeuvres will be served.
7 p.m. SSA Dinner at Mercado Jaurez
Friday July 15
10 a.m. Shooting Phantograms Outdoors in Nature
2 p.m. Slide Mounting for Projection 101 - Steve Hughes
3 p.m. Digital Stereo Cameras - Larry Heyda - Rob Crocket
- Jon Golden
4 p.m. Shooting Phantograms Outdoors in Nature - Barry
5 p.m. Miami is Hot! NSA 2006 Convention Planning - William
Saturday July 16
Awards Banquet at Austin Ranch
Workshops: 2 p.m. Making Modern Stereo Cards - Steve
Sunday July 17
Monday July 18
Tour of Dallas and Ft. Worth
See part of the motorcade route, see the Rooming
house where Oswald lived, the Texas Theater where Oswald was
arrested and the site where officer Tippet was shot.
The tour includes a visit The Sixth Floor Museum which features
nearly 400 historic photographs, six
documentary films and audio cassette tour and a range of artifacts
and interpretive displays to document the life and, times,
death and legacy of President John F. Kennedy and analyzes
Kennedy’s lasting impact on American culture.
On the way to Fort Worth the tour guide will prepare
you for what you will be seeing while guests are having their
box lunches. She will tell tales of yesteryear when over a
century ago millions of Texas longhorns were driven to the
Kansas rail heads along the Chisholm trail, stories of roundups
and Indian lore.
The tour will drive through Sundance Square, the restored
old city with its brick streets and architecture of the old
west, shops and galleries of western art and gifts. Sundance
Square was named after the infamous outlaw, the Sundance Kid.
Step out into the Water Gardens. Designed by nationally known
architect, Philip Johnson the water gardens are designed to
combine water, greenery and concrete. A spot used many times
in the movies, such as Logan’s Run, it surprises
even the most sophisticated visitor.
The tour goes to the stockyards area which shows the authentic
heritage of the Old West. This is the home of the Cattleman’s
Exchange, where cattle auctions are still held. A stop in
the Stockyards Hotel, a moment in history that time forgot.
Its walls are filled with stories of a rough and tumble age
of real life pioneers and cowboys. Next door is Booger Reds
Saloon, named after the famous broncobuster, it carries on
the time honored tradition of a western watering hole.
For those who like to shop, right up the street is the Stockyard
Station Market. Without destroying the architectural integrity
of the original structure the Market offers visitors an opportunity
to experience the Old West in an authentic but modern setting.
The Market houses more than 20 new shops from the King Ranch
Saddle shop to the Olde West Country Store.
Longhorn cattle drive at Fort Worth Stockyards
The "Fort Worth Herd" numbers 15 longhorn cattle,
steers actually, not cows. A handful of them will be chosen
each day to participate in the drive, which will leave just
before lunch from the herd's pen in the Stockyards. The cattle
travel from the Stockyards along the Trinity River to the
pasture, where they graze for a few hours before returning
to the Stockyards, between 4 and 4:30 p.m.
The city's cowboys, dressed in turn-of-the-century garb with
period saddles and equipment, will explain Fort Worth's history
and answer questions from the public.
The whole tour should last about nine hours.
3-D 303 Kit for Macintosh
June 27, Mission3-D™ announced the launch of their Photo3-D™
303 Kit for use on Macintosh computers running system OSX
or above. Before now, the Photo3-D™ kit, which makes
3-D photography accessible to everyone, has only been available
for Windows™. Now any inclined consumer, gadget lover
or graphic designer can easily capture, create and share eye-popping
A Macintosh version of the Photo3-D™ 303 Kit has been
a common request to Mission3-D™, as the Mac world is
heavily populated by visual artists, designers and digital
Photo3-D™ is the first affordable, user-friendly device
that enables anyone to easily take 3-D photographs. Photo3-D™
works with any digital camera (with a standard tripod socket
on the bottom), and the full product package includes everything
needed to easily take, see and share 3-D photographs.
It takes just minutes to learn, and anyone who knows how
to operate a digital camera and home computer can create their
own incredible 3-D photographs with a few simple steps. Like
a 3-D movie, you have to wear the included 3-D glasses to
see the effects.
“It’s amazing to see how people react when they
see a 3-D photo, especially children,” said Michael
DesRochers, managing partner of Mission3-D™. “With
Photo3-D™, your pictures will show real depth and dimension,
become more life-like and you are finally able to see yourself
the way the world sees you. Photo 3-D™ is a remarkable
product. It’s fun to use for parties and events, and
we are thrilled to deliver this simple-to-use technology to
the Mac community.”
The reasonably priced Photo-3D™ 303 Kit is available
via the Photo3-D™ online store at www.Photo3-D.com,
or by phone at 1-800-531-3378. The manufacturer’s suggested
retail price for the Photo3-D™ 303 Kit is $129.
and Digital Cinema - The Plan to Install 100 3-D Digital Systems
in Theatres this Fall
has 3-D's in it's names and could revolutionize the film industry?
Disney...Dolby...and Digital Cinema.
At their own expense, Walt Disney and Dolby Laboratories
plan to install 100 digital movie systems in the top 25 U.S.
cities. Disney and Dolby's plan to install 100 digital movie
systems in theatres this fall is the third recent major news
about the return of 3-D to the mainstream movie going experience.
Dolby Laboratories will provide the computer servers.
The systems should be in place in time for the Nov. 4 release
of Disney's 3-D computer-animated movie Chicken Little.
The film uses visual effects from George Lucas' Industrial
Light and Magic.
The film industry has been buzzing about 3-D movie making
since the Showest 3-D presentation last April in Las Vegas.
3-D movies were touted by film directors including George
Lucas and James Cameron, who think the new 3-D technology
that relies on digital filmmaking and projection could renew
interest in movies, helping an industry worried over significantly
lower ticket sales this year.
The 100 theatre locations chosen by Disney and Dolby will
be announced at a later date. The plan marks another advancement
in the process of bringing digital cinema to a wide number
of movie theatres after years of development.
Digital cinema systems have been unveiled by Eastman Kodak
and Belgian projector maker Barco. Access Integrated Technologies
and digital projector maker Christie Digital Systems had already
announced plans to to fund installations. Digital cinema offers
audiences as good an image the first time a movie is shown
as the 100th time.
For years, the question of who will pay for installations
has delayed a rollout of digital cinema. Theatre owners have
said that studios should pay while studios have argued that
theater owners should pay.
With digital cinema offering studios savings in film distribution
costs, the investment would pay off in the long run. Other
entertainment venues such as satellite broadcasts of music
concerts could be featured in theatres, offering owners a
whole new attraction to audiences.
The Undead 3-D
begins filming in L.A.
| The Undead 3-D reaches out.
View with the red lens over the right eye. Photo and 3-D
by Daniel Symmes
On June 15, production commenced on The Undead 3-D
in Los Angeles, a feature film that will be the first in several
respects. The key aspect will be the maiden flight of the
HD3Cam™, the latest 3-D camera system from Dimension
D3 is again ahead of the pack with the smallest, lightest,
professionally-designed HD 3-D system. For the first time
ever: HD on Steadicam, without cables, with variable interaxial
(sometimes erroneously referred to as “interocular”),
and REAL 3-D monitoring.
The production is The Undead 3-D (working title),
and is produced and directed by Jeff Broadstreet. D3 has found
Jeff to be great to work with, in that he has his specific
ideas, but is open to the technical challenges of shooting
a low budget in 3-D, and encourages input.
Director of Photography Andrew Parke has from the start grabbed
on and won’t let go. He’s taken a very aggressive
tact to addressing 3-D in relation to conventional filming.
And to add to the weight, the ultimate venue is film for theatrical
projection. As best we know, this is the first feature to
be produced in this format and 3-D for output to film.
The HD3Cam™ was designed and built by Daniel Symmes
(Director of Photography since 1972), who is the leading expert
on film and video stereoscopy. Symmes ("Mr. 3-D")
is also the head of Dimension 3. Also involved was Steadicam
great, Jerry Hill, whose contributions made miracles fly.
3 for more behind the scenes images of the film.
Inc. Launches Expanded Web Site
expanded Web site for In-Three Inc. is now online at www.in-three.com.
The site features descriptions of In-Three's Dimensionalization®
process, the first real process for converting motion pictures
into fully-authentic, high quality 3-D.
The Web site includes a company profile, press links and
testimonials, contact information, frequently asked questions
and background on digital cinema and 3-D.
In-Three has developed the revolutionary patented process
called Dimensionalization® that converts full-length mainstream
2-D motion pictures into fully realistic, engrossing 3-D motion
pictures of the highest quality. After years of development,
this is the first 3-D conversion process that results in completely
believable 3-D images. In-Three’s Dimensionalized™
3-D content is so convincing that many have said that it makes
them feel as if they are in the film. Dimensionalization®
is a resolution independent high quality depth-restoration
process that results in 100 percent authentic 3-D. Dimensionalized™
3-D content looks extremely realistic, typically better than
if it had been originally photographed in 3-D. Every scene
is dimensionally choreographed for complete believability.
Dimensionalized™ movies can be comfortably watched for
hours on end, just as is in the real world of 3-D vision.
There is no visual discomfort or eye-fatigue.
In-Three has already completed a number of demonstrations
and tests for nearly all the major studios and key filmmakers,
Dimensionalizing™ motion picture content at HD, 2K and
even 4K resolutions. The Dimensionalization® process has
been winning accolades from George Lucas, Stephen Spielberg,
Peter Jackson, James Cameron, Jeffrey Katzenberg, Kathleen
Kennedy, Tom Cruise, Robert Zemekis, Randal Kleiser, Robert
Rodriguez and many others. The Web site also includes photos
of some of these industry professionals taken during the 3-D
Digital Cinema presentation at the 2004 Showest Convention
in Las Vegas.
of the Future: 3-D Cinema Comes of Age
by Ray Zone
Courtesy of www.worldentertactive.com
all film is stereoscopic, and we have forgotten that we ever
accepted the convention of the flat-image as real, it seems
unlikely that we shall remark on the stereoscopic film’s
appearance of reality, any more than at present we remark
on the conventional flatness of the two-dimensional film.”
– Ivor Montagu
A Future in the Past
In a visionary 1950 essay titled “The Third Dimension
– Film of the Future?” cinema historian Ivor
Montagu wrote about 3-D movies after visiting the Stereokino
in Moscow and viewing an 80 minute program consisting of three
motion pictures. The 3-D movies, comprised of a travelogue
of the Crimea titled “Sunny Region," an
instructional film called “Crystals”
and a comedy, “Caran d’Ache on the Ice,”
were all autostereoscopic; in other words, no 3-D glasses
were required to see the third dimension in the films. Are
Sounds a lot like the 3-D future to me and yet it happened
over half a century ago. These 3-D movies used interlocked
rear projection of dual left and right eye 70mm film prints
on to glass with vertically etched lines. A printed notice
on the ticket to the films pointed out a limitation of the
autostereoscopic process. “Leaning to one side loses
the stereoscopic effect, which can be recovered by a movement
of from 4 to 8 inches.”
For our immediate future, however, as digital cinema begins
to proliferate (as of May 2005 there were about 75 theatres
in North America equipped with digital projectors), audiences
viewing 3-D movies will be using the glasses. And, for the
time being, they will be using either Liquid Crystal Shutter
(LCS) glasses with left and right eye lenses alternating at
48 frames a second (96 hertz) or disposable glasses containing
circular polarizing filters.
The strength of either process is that each requires only
a single lens digital projector. The projector of choice for
digital cinema appears to be the Christie CP2000 with 2k of
resolution. A lower end model also projects 1.2K of resolution
but both models are in use with the exhibitors who have installed
digital projection in their theaters. Therein lies another
strength in the digital 3-D process: exhibitors currently
housing digital DLP projectors need not completely overhaul
their system, they only need to procure the dual-stream server
and the eyewear.
A Clarion Call for 3-D Cinema
The signal event, the clarion call announcing digital 3-D
cinema, took place recently with Texas Instruments’
DLP 3-D cinema presentation March 17 at the ShoWest trade
show in Las Vegas, Nevada. For that presentation digital 3-D
was projected using the “page-flipping” function
of the DLP projector, retrofitted for stereo projection, and
the audience viewed the stereoscopic clips on a matte white
screen using the Nu-Vision LCS glasses running at 48 frames
a second. With high-powered filmmakers George Lucas, James
Cameron, Robert Zemeckis, Robert Rodriguez and Randall Kleiser
showing stereoscopic clips of their films and espousing the
virtues of digital 3-D cinema, it was a 3-D wake-up call for
motion picture producers and exhibitors.
and Rodriguez have been doing original dual-HD (high definition)
photography for their stereoscopic efforts using the Reality
Camera System (RCS) developed by Cameron and Vince Pace. Their
3-D films include Cameron’s “Ghosts of the
Abyss” and, in 2005, “Aliens of the Deep”
and Rodriguez’s “Spy Kids 3-D,”
and, opening June 10, “Lava Girl and Shark Boy.”
Both Rodriguez films are projected in a theatrical wide release
with existing film and digital projectors as red/blue anaglyph,
a process which Cameron characterizes as “horrendous
in image quality,” and which, in his opinion, “has
contributed to the ‘ghetto-ization’ of 3-D.”
At the March 17 ShoWest event, Rodriguez’s stereoscopic
movies were projected in full color using the DLP alternating
field platform. George Lucas presented 3-D clips from “Star
Wars” with startling 3-D that had been produced
as stereo conversions from the original 2-D versions by the
company In-Three of Agoura Hills, California. He also announced
that the entire series of “Star Wars”
films would be repurposed to 3-D by In-Three with the first
in the series to be released stereoscopically in 2007.
Stereo Repurposing of the Past
If the entire library of cinema’s history is thought
of as the past, then that history can now potentially be seen
in 3-D, after first being processed to a digital intermediate
(DI) and converted to stereo by a company such as In-Three.
Think of it, “The Wizard of Oz,” “Gone
with the Wind” or “Casablanca”
in 3-D. Will there be a new market for these films, despite
total saturation on TV and DVDs? Or will more recent films
such as “Star Wars” and “The
Matrix” produce big box office returns in a 3-D
Kleiman and I recently visited In-Three’s CEO Michael
Kaye and VP Neil Feldman, who projected some stereo conversions
in their screening room for us on a 15 foot matte white screen
using a 1.2k projector running at 48 frames a second. We put
on the Nu-Vision alternating field glasses and looked at stereoscopic
clips of “Star Wars” (the first ten-minutes
of the original film in the series), the ‘bullet time’
sequence from “The Matrix,” John Travolta
hoofing it in “Grease,” and Tom Cruise
racing in “Top Gun.” The closing sequence
of Sam Raimi’s “Spiderman,” despite
fast cutting and rapid camera moves, proved very well suited
In each instance, the stereoscopic effects were easy to view
and yet very dramatic. I detected no pseudoscopic anomalies,
spurious edges or aliasing in the 3-D. Individual scenes each
had a different 3-D arrangement and the placement of the stereo
window, where the left eye and right eye images coincide,
was handled with great sensitivity.
Now, the only questions are how long does it take to convert
a feature film to 3-D and how much does it cost? The answers
depend on the visual complexity of the movie, but a general
estimate right now for a feature film is about $5 million,
a drop in the bucket by most Hollywood standards.
Interestingly, artistic advantages exist for stereo conversion
over live-action and original stereoscopic photography. They
are the same advantages had by a stereoscopic filmmaker working
with computer generated imagery (CGI). Because the 3-D image
is digital, a measure of control over the picture is provided
to the stereoscopic filmmaker that is absent with original
3-D photography. Different elements in a scene, for example,
can be rendered separately in one visual space. One stereo
conversion at the In-Three demo, a scene from “Tuck
Everlasting,” showcased this digital flexibility.
The background, middleground and extreme foreground elements
were each given a different 3-D treatment that produced powerful
three dimension effects which would have been impossible with
original 3-D photography of the same scene.
The Two Digital 3-D Cinema Platforms
In an illuminating question-and-answer session at ShoWest,
James Cameron discussed the two digital 3-D platforms available
now. “Very little change to the DCI (Digital Cinema
Initiative) specification is required to achieve viable digital
3-D projection using the existing technology for the digital
cinema rollout,” said Cameron. “Each digital projection
‘screen’ will have a DLP Cinema projector and
a server. For 3-D, that server will need to be upgraded to
a dual channel server. In addition, that theater will need
either a silver screen and LCD fitter for the projector, or
a set of reusable LCD glasses. This overall upgrade should
cost between 10 and 15 thousand dollars over the base cost
of the digital projection unit.” Upgrade cost for both
digital 3-D cinema platforms are about the same.
The Real D company, based in Beverly Hills, has been perfecting
a digital 3-D cinema platform that uses disposable glasses
with circular polarizer filters. The conventional polarizing
3-D glasses used to date have linear transmission of light
through the lenses so that if an audience member tilts their
head left or right, ‘ghosting’ or breakdown of
the stereoscopic image starts to occur as the left eye begins
to see a remnant of the right eye image and vice versa. This
drawback is eliminated with circular polarizing filters which
are more expensive but in quantity can be manufactured at
minimal cost. An additional advantage to the exhibitor is
that there is no necessity to collect the circular polarizing,
“passive,” glasses back from the audience and
clean them before each reuse as with LCS glasses.
With the Real D platform, the left and right eye frames are
alternating out of the 2k digital projector 72 times a second
(144 hertz) and projected through the polarizers. This makes
a silver screen necessary to prevent depolarizing and ghosting
of left and right eye images. Real D has developed a combination
silver/matte white screen with high gain reflectivity and
a wide viewing angle so that the screen is compatible for
both 2-D and 3-D projection.
Joe and I viewed some stereoscopic footage of “The
Polar Express” along with the Real D demo reel
that includes clips from Cobalt Entertainment’s NFL
footage, Cameron’s “Ghost of the Abyss”
and some custom CGI 3-D clips demonstrating the potential
for digital 3-D cinema exhibition with applications such as
3-D pay-per-view or local stereoscopic advertising. The three
dimension effects with the Real D platform are striking and
the images very bright on a twenty foot screen.
On March 14 during ShoWest, Mann Theatres announced that
they had selected REAL D as the exclusive delivery system
for digital 3-D entertainment for its theater chain. The Chinese
theater complex located in Hollywood will host the first REAL
D flagship 3-D cinema. Mann Theatres is the first theater
chain to embrace the exhibition of digital 3-D cinema and
the REAL D flagship theater at the Chinese will mark the first
time the 78-year-old theater or any of its adjoining six auditoriums
has been equipped to show 3-D movies. Real D hopes to have
1,000 digital 3-D cinemas in operation by the end of 2005
and three times that in 2007.
Eyes for New Cinema Grammar
With both the Real D and Nu-Vision LCS digital 3-D cinema
platforms, the left and right eye images alternate sequentially
at a high rate during projection. This technology allows stereoscopic
movies, running in simultaneous dual streams with separate
left and right eye information, to play on one projector through
a single lens.
On March 4, 2005, Real D acquired the Stereographics Corporation
based in San Rafael and founded in 1980 by Lenny Lipton, an
author and 3-D cinema historian. Lipton holds 20 patents for
field sequential stereoscopic displays and with a September
2001article in the SMPTE Journal titled “The Stereoscopic
Cinema: From Film to Digital Projection” wrote
that “The deterrents to the widespread acceptance of
the stereoscopic theatrical medium have, in principle, been
solved by digital projection. The same projector can be used
for showing planar content as well as stereo content with
the flip of the switch.”
Neil Feldman at In-Three pointed out that a single digital
cinema server can deliver a 2-D and 3-D version of a movie
to two different auditoriums simultaneously. That raises an
important question which has both economic and artistic ramifications:
Should movies be released simultaneously in “flat”
and stereoscopic versions? This was the case with “The
Polar Express” which played in a wide release (3,000
screens) flat in 35mm and a handful of Large Format theaters
(about 70) exclusively in 15/70mm 3-D. Despite the huge difference
in numbers, the 3-D version, playing in 2 percent of the theaters,
pulled in 30 percent of the box-office.
Artistically, however, stereoscopic motion pictures might
necessitate a new grammar for cinematic storytelling. 3-D
movies like “Spy Kids 3-D” incorporating
z-axis information within and in front of the screen can only
work artistically in stereo. With the reality that any existing
film can be converted to stereo, this aesthetic issue for
stereoscopic cinema will acquire importance in filmmaking.
Now that the technology for production and exhibition of
3-D movies has, at last, become transparent, we can ask some
pertinent questions. What new kind of story can be told using
the motion picture screen as a stereoscopic window on another
world? How can 3-D be used as an inherent element of the narrative?
What can 3-D filmmakers do to incorporate audience space into
In his visionary essay, Ivor Montagu asked similar questions.
The “apparent pictorial reality” of 3-D film was
only the most obvious aspect of this new cinema language.
“But, in respect to compositions and movements in the
third dimension itself, that is, towards and away from the
spectator,” he observed, “we have here a gigantic,
a tremendous, an immeasurable new power.”
This artistic power can also generate a monetary engine.
As with 3-D movies in Hollywood in 1952, the power of stereoscopic
digital cinema can be an effective form of “differentiation”
for exhibitors to lure people out of their homes, away from
their increasingly sophisticated home theater systems, and
back into motion picture theaters.
Montagu acknowledged that the Stereokino films were limited
in their achievements. “However,” he added, “one’s
fingers itch to mould and sculpt in this new medium. What
a fascinating task it must be to explore its ranges. All that
has been contrived in it so far is no more than lisping baby-language,
compared to the roaring eloquence or pregnant whisper it may
one day add to our vocabulary.”
With digital 3-D cinema a reality, our vocabulary has indeed
expanded, and we will watch, and listen, with both eyes open.
Lipton, Lenny. “The Stereoscopic Cinema: From Film
to Digital Projection,” SMPTE Journal,
September 2001, p. 586-593.
Montagu, Ivor. “The Third Dimension – Film
of the Future?” The Cinema 1950, ed. Roger
Manvell, A Pelican Book (Great Britain: 1950), p. 132-139.
Ray "3-D" Zone is an award-winning 3-D artist,
speaker, and author whose writing has appeared in the “Los
Angeles Times,” “American Cinematographer,”
and “The Hollywood Reporter.” An internationally
recognized expert in all things 3-D, Zone has a special interest
in film history and Large Format filmmaking. Since 1983, Zone
has produced stereoscopic images for a wide variety of clients
in publishing, education, advertising, television, and motion
pictures. His newest publication is the book “3-D
Filmmakers: Conversations with Creators of Stereoscopic Motion
Pictures.” Zone’s Web site is viewable in
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.
water tower to be torn down
former View-Master® water tower and Powell's Books store
will be torn down to double the size of Cascade Plaza in Beaverton,
The shopping center expansion will add 138,500 square feet
of retail stores, which is nearly the size of a proposed Wal-Mart
In the process, the developer is demolishing what's left
of the former View-Master® plant, which has been vacant
since Mattel closed it in 2001. The property is contaminated
with industrial solvent from decades of manufacturing and
is undergoing a cleanup of groundwater that's expected to
take another 25 years. The Oregon Department of Environmental
Quality has approved the expansion.
View-Master® water tower coming down soon
"The 100,000-gallon water tower in front of the property
will probably be torn down within the next couple of weeks,"
Pate said. The tower has become associated with pollution
because it held contaminated drinking water.
In March 1998, the site was found to have 320 times the federal
allowable amount of trichloroethylene, or TCE, in its well
water. TCE, which was used as a degreaser at the plant from
1952 to 1980, was disposed of there until 1982 by being dumped
on the ground, which is now illegal.
A well at the plant provided drinking water for employees
as well as cooking water in the cafeteria. Mattel closed the
plant in May 2001 after starting an employee health-screening
program and a cleanup that continue today.
TCE has been linked to liver and kidney cancers in laboratory
animals, and the Environmental Protection Agency classifies
it as a "probable carcinogen" for humans.
Even though it will take another 25 years or so to clean
the groundwater on the property, Harsch Investment can build,
"because it's not disturbing the surface soil,"
said Henning Larsen, project manager for the state environmental
agency. In some cases, Harsch will use the concrete floors
from existing Mattel buildings.
"The construction will require shutting down the cleanup
for about six months," Larsen said. There was some concern
that could cause the contamination to spread. But "a
similar shutdown last year did not result in any problems,"
Adventures of Shark Boy and Lava Girl in 3-D
June, The Adventures of Shark Boy and Lava Girl in 3-D
opened in theatres. The Web
site for The Adventures of Shark Boy and Lava Girl in
3-D allows you to convert the site into 3-D.
Sometimes the most amazing superheroes are the ones inside
your dreams. So discovers 10-year-old Max (Cayden Boyd), an
outcast little boy who has become lost in his own fantasy
world in an attempt to escape the everyday worries of dealing
with parents (David Arquette and Kristin Davis), school bullies
and no-fun summer vacations.
Max realizes the cool characters, high-flying adventures and
incredible secret powers that dwell in his imagination might
be far more real than anyone is willing to believe, his whole
world changes. Now, Max is blasting off on a mission to Planet
Drool where Shark Boy (Taylor Lautner), a kid once lost at
sea and raised under the watchful fins of sharks only to become
half-shark and Lava Girl (Taylor Dooley) a volcanic beauty
who emits leaping flames and red-hot rocks live in a realm
of astonishing wonders, one in which the Train of Thought
can whisk you off to the mouth-watering Land of Milk and Cookies.
Teeming with mountainous roller coasters and violet skies,
Planet Drool looks like the perfect kid paradise until Max
meets up with the shocking Mr. Electric (George Lopez) and
his sidekick Minus (Jacob Davich) who are trying to do away
with all dreams forever. With Shark Boy and Lava Girl in trouble,
only Max can guide them by imagining every clever move of
their wily escape from Mr. Electric's Lair. Speedily conjuring
up an incredible array of gadgets, gizmos, contraptions and
cool ideas, Max learns the power of turning his dreams into
Star Wars III-D Collectibles
The third chapter in George Lucas' Star Wars saga,
Star Wars Episode III: Revenge of the Sith brings
with it many 3-D related collectibles. Here are more of the
Star Wars 3-D items available.
Editor's Note: All Star Wars images are © Lucasfilm
2005. All rights reserved. Check out our past
issues to see more Star Wars III-D items.
|Star Wars Episode III Revenge of
the Sith (Hobby Edition) Movie trading Cards
Darth Vader Lenticular Morphing Card (Rare "Bonus"
Case Loader card)
|Star Wars Episode III Revenge of
the Sith Celebration 3 lenticular 12" x 18"
First image features Anakin Skywalker
|Star Wars Episode III Revenge of
the Sith Celebration 3 lenticular 12" x 18
Second image features Darth Vader
Comic book colorist
claims to have invented View-Master®
Adler was DC Comics' premiere colorist from the early 50's
through the mid 80's and was head of the art department for
much of his tenure, doing much of the hiring and training.
He graduated from high school at the age of fifteen and quickly
got a degree in fine art. He became proficient at sculpting,
pencilling, inking, painting and photography. He pioneered
the washtone/graytone effect that became so popular on the
DC "Big Five" war titles. Plus, he inked many 50's,
60's and 70's comic covers as well. He also developed the
3-D process used on the Batman 3-D and Superman
3-D comics in 1953.
In summer 2004, Adler, thought by some to have passed away
years ago, at the urgings of his family, made his very first
public appearance at the San Diego Comic-Con. He was honored
Thursday afternoon at the massive annual convention with the
Inkpot Award For Excellence for Outstanding Achievement In
Comic Art. He received a standing ovation from the many onlookers
at the panel of Golden-Age and Silver-Age Greats, hosted by
Mark Evanier. Besides Adler, noteworthy members on the panel
were Tom Gill, Sid Jacobson, Gene Colan, Frank Springer, Harry
Harrison and Frank Bolle.
Friday at the Comic Con, there was a one-on-one panel with
Mark Evanier and Jack Adler, titled "Spotlight On Jack
Adler", and many questions were answered for the crowd
by the comic book legend.
Adler also explained how he invented the 3-D image technology
popularly used by View-Master®, but was unable to get
the patent, as the film itself had been patented, but not
in a similar 3-D format, and (according to Adler), he got
burned, as View-Master® was able to capitalize on his
Factoid - DC production artist Jack Adler
is the uncle of the infamous "King Of All Media"
Zone's 3-D Slide Shows is in its 10th year at Los Angeles
For 10 years, Ray "3-D" Zone has been presenting
3-D slide shows on the history of 3-D in photography, motion
pictures, art, science and popular culture at different branches
of the Los Angeles Public Library system. The 2005 show is
The World of 3-D Comics. The first show of 2005 was
held on June 14 at the Panorama City Branch Library.
Each program is projected on a large silver screen and the
audience, consisting of children, teenagers and adults, views
the three-dimensional images wearing polarizing glasses similar
to those used for 3-D movies. Below are dates and locations
for Ray Zone's Library 3-D Slide Programs for 2005.
July 6, 4 p.m.
Jefferson Branch Library
2211 W. Jefferson Blvd.
Los Angeles, CA, 90018
Saturday, July 23, 2 p.m.
Will and Ariel Durant Branch Library
7140 W. Sunset Blvd.
Los Angeles, CA
Tuesday, July 26, 3:30 p.m.
Mark Twain Branch Library
9621 So. Figueroa St.
Los Angeles, CA
Thursday, August 11, 3:30 p.m.
Porter Ranch Branch Library
11371 Tampa Avenue
Northridge, CA, 91326
Wednesday, August 17, 4 p.m.
Jefferson Branch Library
2211 W. Jefferson Blvd.
Los Angeles, CA, 90018
Club of Portland, Oregon
Cascade Stereoscopic Club (CSC) in Portland, Oregon, U.S.A.
is a non-profit 501(c)(3) public corporation devoted to all
aspects of stereo photography. The CSC is a forum where one
can share ideas and learn new techniques from fellow stereoscopic
enthusiasts. Monthly meetings are open to the public.
The CSC publishes an excellent newsletter
featuring information about club activities and 3-D in its
many forms. The online newsletter is in Adobe Acrobat PDF
CSC hosts a monthly meeting open to the public. Meetings include
projection of stereo images, discussion of techniques and
projects related to stereo imagery, viewing of stereo cards,
information concerning equipment and processes used in rendering
stereo images. Meetings are open to the public and anyone
interested is encouraged to attend.
Throughout the year, CSC presents free public showings and
demonstrations of stereo imagery in public forums. These range
from libraries, museums, clubs and schools. Forums include
slide projections, viewing of stereo cards, information concerning
the history of stereoscopy and the present day use of stereo
imagery and technical discussion of the process of rendering
CSC sponsors various workshops during the year which relate
to specific areas of stereo photography or image making. The
workshops are open to the public and are discussions and hands-on
opportunities to learn some particular aspect or technique.
PSA Traveling Show Hosting
Once a year, CSC hosts the Photographic Society of America,
Stereo Divison (PSA) Traveling Show, a slide exhibition sponsored
by PSA. Photographers from all over the world enter in July.
A panel of judges selects approximately 50 percent of the
entries to travel for a year from one club to another. Historically
this amounts to approximately 100 to120 slides. The various
clubs judge the accepted slides to choose the top awards.
At the end of the year, the results from all of the judgings
are combined to provide a final result. CSC views and judges
the traveling show in June at the regular club meeting.
CSC offers several competitions within the club each year
in both stereo slides and stereo cards. The entries are publicly
viewed by all present at a scheduled meeting and are judged.
There are usually two slide and two card competitions which
may or may not have a specific theme.
International Stereo Exhibition
The Cascade International Stereo Exhibition is held annually
in June and is open to all participants anywhere in the world.
The exhibition has sections for stereo cards, slides and stereo
electronic images, both photographically based and non-photographic.
The images are judged and awards given for excellence in each
section of the exhibition. The accepted images in the electronic
section are available for viewing on the World Wide Web. In
addition, the accepted images are publicly displayed in at
least two free public forums in the Portland and Vancouver
National Organization Activities
CSC is a member of the Photographic Society of America, the
National Stereoscopic Association and the International Stereoscopic
Union. As a member of these organizations, CSC promotes and
participates in activities sponsored by them.
3-D Center of Art and Photography
The club operates the 3-D Center of Art and Photography, a
non-profit museum/gallery, features the best in antique and
contemporary 3-D imagery. The Center houses everything from
antique stereocards to View-Master®, contemporary 3-D
photography, lenticulars, anaglyphs, and computer generated
Fruit by the Foot
features 3-D Promotion
companies have used 3-D over the years to help move items
off the shelves including tiny 3-D comic books inserted inside
the package to special order 3-D premiums. The latest food
product to feature a 3-D promotion is Betty Crocker Fruit
by the Foot.
Specially marked packages of Betty Crocker Fruit by the
Foot contain 3-D anaglyphic glasses on each box. The
glasses can be used to see 3-D images printed on the paper
wrappers rolled around the Fruit by the Foot snack in each
box. There are also 3-D X-treme trading cards printed on the
Using 3-D to promote products goes back to the days of the
stereoscope. Universal Pictures used stereocards sold as a
movie souvenir item at showings of Lon Chaney's The Phantom
of the Opera and The Hunchback of Norte Dame.
Trading card companies use lenticular 3-D for special limited
editions at conventions. You can read about many of these
classic 3-D premiums in our archives.
Fruit by the Foot snacks are produced by General
in 3 Dimensions at the Science Museum of Virginia
you ever wondered how 3-D movies are made, or how artists
can create incredibly realistic 3-D images with paint and
canvas? At Adventures in 3 Dimensions, explore how
your eyes and brain work together to operate in a three-dimensional
world. Get an in-depth look at illusions, perspective, and
3-D technology and applications. Don’t miss the 3-D
and hologram galleries, and a fantastic 3-D slideshow featuring
polarized 3-D technology.
The Adventures in 3 Dimensions exhibit showcases
an in-depth look at living in a three-dimensional world with
illusions, perspectives and applications.
Visitors can look at paintings that demonstrate a "one
point perspective" in which a 3-D image is drawn using
straight lines that come together at a single point, called
a vanishing point.
A 3-D computer tour of the human body allows you to use real-world
technology, such as medical imaging and virtual reality, as
you look at images from scanned and digitized slices of human
cadavers. Adventures in 3 Dimensions was developed
by the Pacific Science Center, Seattle
Do you think seeing is believing?
Museum of Viriginia Exhibits
in 3 Dimensions is on display until Sept. 5; Aliens
of the Deep runs until Sept. 30. The museum is
open 9:30 a.m. to 5 p.m. Monday through Saturday and
11:30 a.m.to 5 p.m. Sunday.
Science Museum of Virginia, 2500 W. Broad St.
Entrance to the museum is $8 for ages 4 to 12, seniors
and active military and $8.50 for adults. IMAX films
are $8.50 per ticket.
(804) 864-1400 or www.smv.org
Take a stereo-vision test to see if you have stereo perception.
Here, you can look through various special tubes and lenses
that will make you think your eyes are playing tricks on your
mind. And it's not just for kids.
Parents, revisit the inventions of the Stereo Realist Camera,
marketed in 1947, or the View-Master® stereoscope, the
popular 3-D viewing device that last summer celebrated its
And while you're testing your eyes, don't miss the museum's
newest IMAX film, Aliens of the Deep, presented by
Walt Disney Pictures and Walden Media. The film follows a
team of marine biologists and NASA researchers as they discover
some of the strangest animals on Earth in hopes of shedding
light on discovering life on other planets.
It was certainly a day of exploration last week when Mary
Ann Merritt's third-grade class visited the museum. The Elijah
House Academy students had been studying oceanography and
came to the museum to experience firsthand the discoveries
of the deep sea. "I want them to grasp the concept of
creation," Merritt said. "They know some, but there's
so much to discover." The students watched as the film's
real-life explorers dared to get personal with some of the
ocean's most exotic creatures.
The explorers secure themselves and an underwater robot in
a submersible to visit some of the sea's most exotic locations
southwest of Mexico, the Lost City and the Snake Pit, to name
a few. There are acres of blind shrimp defying scientists,
and cooks, by swimming in boiling hot water trying to get
nutrients that pour out from the Earth in what looks like
volcanoes or smokestacks. And, you can't miss the six-foot-tall
tubeworms attached to the bottom of the ocean in freezing
water. Their open ends, called plumes, reach into water that
is 150 degrees.
"It enlarged their understanding of what's out there,"
Merritt said. "It was cool," said nine-year-old
Kaelah McClaine about the film. "My favorite part was
seeing the squid and volcano erupting." Student Harlan
Grantum said he learned much about the ocean from the film.
"It's real big and has lots of animals," he said.
"It was pretty interesting," student Jamie Ledwell
added. After he saw the movie, Jamie said he wants to become
an astronaut when he grows up.
After all, the point of the film's exploration of deep sea
is meant to provide clues for astrobiologists -- scientists
who study the possibility of extraterrestrial life through
what is known about life on Earth.
Merritt said the film and the exhibit should stick in her
students' minds throughout their educational journey. "It's
made their world a lot better," she said. "And deeper."
Center of Art and Photography takes you to Lenticular Heaven
on July 1
Starting July 1, two new 3-D presentations are coming to
The 3-D Center of Art and Photography in Portland, Oregon.
Lenticular Heaven July 1 through Aug. 14
without the special glasses becomes reality on July 1 when
Elliott Swanson takes you to Lenticular Heaven. Covering
a wide variety of subjects, these images are printed on a
special medium that allows the viewer to see depth without
the customary eyewear.
Swanson shares his world of lenticular images from the fanciful
to the sublime. The lenticulars are created from computer
generated images or from photographic images, and some use
a combination of both.
Swanson has built several stereo cameras and also rebuilds
vintage 1950's stereo cameras, although he says he had to
sell most of his antique cameras to afford more modern gear.
Over the years he has worked in almost all 3-D formats, but
his most recent ventures have been in lenticulars.
Island Apart: Only in Madagascar July 1 through Aug.
immersive slides of Marlin Peterson's travels will be shown
in the stereo theatre on the hour, concurrent with the gallery
show. Island Apart: Only in Madagascar documents
just one of Marlin's many excursions. He is currently hiking
and photographing in Kazakhstan.
This stereo slideshow documents Marlin's three month "mountain-bike-packing"
odyssey through this unknown island-continent. Despite being
situated relatively near to Africa, Madagascar has been isolated
as a landmass for 165 million years! Perhaps even more striking
is that the first inhabitants to this remote land sailed all
the way from present day Indonesia! These factors give Madagascar
's natural and cultural history an astonishingly unparalleled
uniqueness. From the "spiny forest" and arid deserts,
to the steamy rainforests, we will camp and pedal the whole
way, discovering myriad landscapes, close up facial portraits,
spiders, chameleons and rural markets! This is a must see
for anyone with at least two eyes.
The 3-D Center of Art and Photography is located at 1928
NW Lovejoy in Portland, Oregon. Call (503) 227-6667. Hours:
Friday, Saturday and Sunday from 1 to 5 p.m. and every first
Thursday from 6 to 9 p.m.
Coin-Op Bettie Page 3-D Peepshow Viewer
outstanding coin-operated viewer came right out one of the
gentleman’s clubs in London’s Soho during the
naughty, but discreet, 1950s. This Cabaret machine
is hung on a wall and has a viewer for you to look into.
The metal front is all-white and has the look of an old time
coin-op cigarette machine. Lettering is figural metal and
in painted gold. There are “windows” on the front,
the main one features art with a Vargas-style girl in slinky
garb with the text “3-D Beauty Parade.” The top
window reads, “Glamour Beauties” and “10
Beautiful Models in Color 3-D Only…Insert Coin On Side
4…Different Series.” The viewer operates on a
European electrical set-up. The viewer measures 27" x
24" x 6”.
After you dispense the coin, a giant wheel inside shows you
a three-dimensional image, using a full color slide, of a
lovely nude of the period. Inside are many of the most famous
glamour girls of the era (those that did nude work) including
three images of that 50s brunette bombshell, Bettie Page.
Style of the machine and its use is reminiscent of the 1960
British film Peeping Tom that destroyed filmmaker
Michael Powell’s career.
IMAX 3-D Screen
Opens July 14 at Pittsburg Mills Mall
June 23, an IMAX movie screen was installed to join the other
17 traditional movie screens at the Cinemark Theater in the
Pittsburgh Mills mall off Route 28 in Frazer. The 45-by-66
screen will be able to show 3-D films as well as two-dimensional
movies, according to Amanda Kengersky, with Jack Horner Communications,
The Cinemark Imax is the second such theater in the region
after Rangos Omnimax Theater at the Carnegie Science Center
"One difference is that in our theater you can see 3-D
and traditional 2-D," said Terrell Falk, Cinemark's vice
president of marketing and communications. "It's really
a different experience. The 3-D is so realistic it's incredible.
You have people trying to reach out to catch things or something
looks like it's falling and you have the entire audience ducking."
Falk said Cinemark's Imax will be a flat screen, as opposed
to the dome screen at the science center.
At its grand opening, the IMAX will feature three movies
in 3-D: Aliens of the Deep, Sharks and NASCAR
and The film Fighter Pilot will be shown in two-dimension.
The mall is scheduled to open July 14.
screen grabs from the Shrek 3-D DVD are available to view
online. The rest of the site is in Russian but has loads of
other 3-D images are that are easy to navigate.
3-D Auction Results
Several online auctions brought some interesting prices for
3-D items. Here is a sampling of a few auction results from
the past month.
Paramount Pictures Beam Splitter 3-D Projector Lens with
case brought $88.77 with 7 bidders
Paramount Pictures 3-D Lens with case brought $51 with four
40 Stereo 3-D Nude Risque Slides 1950s brought $299 from one
1940's One Cent Stereoscopic Peep Show brought $361.71 with
Pristine 1883 Antonio Quirolo Rosewood Stereoscope brought
$383.55 with 20 bidders
Luxury Mahogany Wood Graphoscope Stereoscope Viewer brought
$473.95 with 18 bidders
Lietz StereoScope MS27 Stereo Aerial Photo Viewer brought
$380.07 with three bidders
GAF View-Master with 147 reels brought $405 with 19 bidders
Five Edsel View-Master reels with viewer brought $290 with